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THE 

YOUNG  CARPENTER’S  ASSISTANT; 

or, 

A SYSTEM  OF  ARCHITECTURE, 

ADAPTED  TO  THE 

STYLE  OF  BUILDING  IN  THE  UNITED  STATES. 


BY  OWEN  BIDDLE , 

HOUSE  CARPENTER,  AND  TEACHER  OF  ARCHITECTURAL  DRAWING, 
PHILADELPHIA. 


PUBLISHED  BY  JOHNSON  AND  WARNER,  , 

AND  SOLD  AT  THEIR  BOOK  STORES  IN  PHILADELPHIA,  AND  RICHMOND,  VIRGINIA. 
William  Brown,  Printer,  Church  Alley. 

181 


/ 


District  of  Pennsylvania , to  wit : 

BE  IT  REMEMBERED,  That  on  the  fifth  day  of  July,  in  the  thirtieth  year  of  the  Independence  of  the 
United  States  of  America,  A.D,  1805,  Benjamin  Johnson  of  the  said  District,  hath  deposited  in  this  office  the 
title  of  a Book,  the  right  whereof  he  claims  as  proprietor,  in  the  words  following,  to  wit: 

i(  The  Young  Carpenter’s  Assistant ; or,  a System  of  Architecture,  adapted  to  the  Style  of  Building  in  the 
“ United  States.  By  Owen  Biddle,  House  Carpenter,  and  Teacher  of  Architectural  Drawing,  Phila- 
<(  delphia.” 

In  conformity  to  the  Act  of  the  Congress  of  the  United  States,  intituled,  “ An  Act  for  the  Encourage- 
ment of  Learning,  by  securing  the  copies  of  Maps,  Charts,  and  Books,  to  the  authors  and  proprietors  of 
such  copies  during  the  times  therein  mentioned,”  And  also  to  the  Act,  entitled,  “ An  Act  supplementary 
to  an  Act,  entitled,  <e  An  Act  for  the  Encouragement  of  Learning,  by  securing  the  copies  of  Maps,  Charts, 
and  Books,  to  the  authors  and  proprietors  of  such  copies  during  the  times  therein  mentioned,”  and  extend- 
ing the  benefits  thereof  to  the  arts  of  designing,  engraving,  and  etching  historical  and  other  prints.” 

D.  CALDWELL,  Clerk  of  the  District  of  Pennsylvania , 


PREFACE 


HAVING  been  for  some  time  past  in  the  practice  of  teaching  the  rudi- 
ments of  Architecture,  I have  experienced  much  inconvenience  for  want  of 
suitable  books  on  the  subject.  All  that  have  yet  appeared  have  been  writ- 
ten by  foreign  authors,  who  have  adapted  their  examples  and  observations 
almost  entirely  to  the  style  of  building  in  their  respective  countries,  which 
in  many  instances  differs  very  materially  from  ours.  Hence  the  American 
student  of  Architecture  has  been  taxed  with  the  purchase  of  books,  two- 
thirds  of  the  contents  of  which  were,  to  him,  unnecessary,  when  at  the  same 
time,  in  a large  and  expensive  volume  of  this  kind,  he  lias  not  always  been 
able  to  find  the  information  wanted. 

Nothing  on  Architecture  has  heretofore  appeared  in  this  country,  where 
the  field  for  improvement  in  every  useful  art  and  science  is,  perhaps,  more 
extensive  than  in  any  other.  Why  there  has  not,  appears  to  me  matter  of 
surprise,  whilst  we  have  among  us  men  of  talents,  fully  acquainted  with  the 
subject,  some  of  whom  are  also  men  of  leisure:  perhaps  they  have  not 
viewed  the  subject  in  the  same  light,  or  given  to  it  the  same  degree  of  im- 
portance that  I have.  For  my  part,  I can  conceive  of  few  objects  of  more 
consequence  in  a new  and  improving  country  like  our  own,  as  it  regards 
our  health  or  convenience,  or  as  it  may  gratify  the  fancy,  than  the  proper 
construction  and  building  of  our  houses:  whence  I conclude  it  a matter 
of  interest,  not  only  meriting  the  attention  of  every  carpenter,  but  of  every, 
man  who  has  time  and  inclination  to  devote  to  the  study,  and  more  espe- 
cially such  who  may  have  occasion  to  build. 

Under  the  influence  of  these  impressions,  and  at  the  solicitation  of  some  of 
my  friends,  I have  been  induced  to  this  undertaking.  How  far  I have  suc- 
ceeded I leave  to  those  who  are  capable  of  judging:— No  doubt  they  will 
discover  in  it  some  imperfections,  yet  surely  it  will  not  be  considered  as  ar- 
rogance in  me  to  conclude  it  better  adapted  to  the  peculiar  circumstances 


4 


PREFACE. 


of  this  country  than  any  foreign  production  of  the  kind.  I have  not,  from 
prejudice,  omitted  any  thing  useful  contained  in  the  books  already  published 
on  the  subject — neither  have  I,  on  account  of  their  authority,  or  from  par- 
tiality, retained  any  thing  I apprehended  useless  to  the  young  Carpenter  of 
the  United  States.  The  proportion  of  the  four  Orders  I have  taken  from 
Pain’s  Works,  with  but  little  variation;  and  for  some  of  the  Geometrical 
problems  I am  indebted  to  Peter  Nicholson,  whose  works  are  held  in  de- 
served estimation.  In  stairs  and  framing  roofs  I have  given  the  most  recent 
improvements  of  this  country,  and  have  endeavoured  through  the  whole  to 
adapt  the  explanations  to  the  capacities  of  learners,  which  accounts  for  a 
minuteness  that  may  possibly  appear  tedious  to  those  who  need  no  instruc- 
tion. 


✓ 


/ 


THE 


YOUNG  CARPENTER’S  ASSISTANT. 


AS  this  work  is  intended  for  the  student  in  Architecture  it  seems  requi- 
site to  give  some  directions  respecting  the  necessary  instruments  for  draw- 
ing,  %c. 

Fig.  A,  Plate  l,  is  a representation  of  a draught-hoard,  to  which  the  paper 
used  in  drawing  is  to  be  fixed.  This  board  is  composed  of  a frame  of  ma- 
hogany or  other  hard  wood  (the  outside  edges  of  which  should  be  exactly 
straight  and  square)  with  a pannel  about  half  the  thickness  of  the  frame,  to 
be  let  in  from  the  back,  and  to  lie  in  a rabbit  in  the  frame,  there  to  be  se- 
cured by  small  wooden  buttons.  Fig.  B is  a section  of  the  board,  a and  h 
are  the  buttons  by  which  the  pannel  is  kept  in  its  place ; eight  or  ten  of 
these  may  be  necessary.  The  pannel  should  be  clamped,  to  remedy  any  dis- 
advantage attending  the  shrinking  of  the  wood.  It  would  not  be  amiss  before 
making  the  draught-board  to  ascertain  the  size  of  the  paper  to  be  used,  and 
make  the  pannel  about  2 inches  less  each  way  than  the  sheet.  In  applying 
this  board  to  use,  lay  the  paper  on  a table,  and  moisten  one  side  of  it  with  a 
wet  sponge,  place  the  board  upside  down  near  it,  take  out  the  pannel  and 
lay  it  on  the  paper,  one  inch  of  which  will  extend  beyond  the  pannel  all 
round,  take  hold  of  the  edges  of  the  paper  and  lift  them  both  into  the  frame, 
fasten  the  buttons  and  dry  the  paper  by  the  fire,  when  it  will  be  smooth  as 
a drum  head. 

Fig.  C is  the  T square,  the  blade  of  which  should  be  long  enough  to  reach 
nearly  across  the  draught-board,  and  should  not  exceed  three-sixteenths  of  an 

B 


f 


6 


THE  YOUNG  CARPENTER'S  ASSISTANT. 


inch  in  thickness.  Similar  in  form  to  this  a bevel  may  be  made,  with  the 
blade  moveable  on  a centre  in  the  stock.  The  application  of  these  in  draw- 
ing parallel  lines  on  the  draught-board  is  so  obvious  that  I need  not  des- 
cribe it. 

In  choosing  a case  of  mathematical  instruments,  attention  should  be  paid 
to  its  containing  the  scales  of  equal  parts  on  the  thin  ivory  or  box  rule,  as  in 
drawing  the  four  Orders  of  Architecture,  they  are  all  proportioned  by  such 
a scale;  which  indeed  is  the  case  with  almost  all  Architectural  drawings,  and 
with  a little  attention  the  student  will  generally  be  able  to  find  a scale  ready 
made  with  greater  accuracy  than  he  would  be  able  to  make  one  himself. 
The  case  should  also  contain  a bow-pen  or  compass,  a useful  instrument 
for  drawing  very  small  circles.  With  these,  a small  piece  of  gum  elastic  for 
rubbing  out  black  lead  lines,  a stick  of  Indian  ink,  two  camel’s  hair  pencils, 
one  large,  the  other  small,  and  a black  lead  pencil  will  constitute  the  in- 
struments necessary  in  learning  Architectural  drawing.  It  may  be  proper 
to  observe  that  no  kind  of  ink  should  be  used  except  Indian  ink;  for  draw- 
ing lines  this  should  be  dissolved  some  time  before  it  is  to  be  used,  but  for 
shading  it  is  best  to  drop  a little  water  on  a plate  or  saucer,  and  rub  the 
stick  of  ink  in  it  till  it  is  of  a proper  shade. 

I shall  now  proceed  to  explain  some  of  the  most  useful  geometrical  prob- 
lems, which  every  Carpenter  ought  to  be  acquainted  with. 

To  raise  a perpendicular  or  plumb  line  from  a given  point  on  a straight 
line 

Let  a fig.  E,  be  the  line,  and  c the  point  given,  from  which  the  perden- 
dicular  is  to  be  drawn:  take  any  space  with  the  compasses  at  random,  as  cb ; 
with  that  space  set  oft’  c a and  cb;  then  place  one  foot  of  the  compasses  in 
a,  and  extend  the  other  beyond  c,  and  describe  a small  part  of  a circle,  as  at 
d;  then  with  the  same  extent  of  compasses  place  one  foot  in  b , and  make 
a part  of  a circle  to  cross  the  other  at  d;  through  the  intersection  of  these 
circles  a line  drawn  to  e will  be  perpendicular  or  plumb. 

From  any  given  point  over  a right  line  to  let  fall  a line  which  will  be  per- 
pendicular to  that  right  line : — 


THE  YOUNG  CARPENTER'S  ASSISTANT. 


7 


Let  c fig.  F be  the  point  given ; and  a b the  right  line,  with  one  foot  of  the 
compasses  in  c extend  the  other  foot  so  as  to  describe  the  arc  or  part  of  a cir- 
cle ab ; place  one  foot  of  the  compasses  at  the  intersection  of  this  arc  with 
the  right  line  at  b , and  extend  them  so  as  to  describe  a small  arc  at  d;  with 
the  same  extent  of  the  compasses  place  one  foot  in  the  intersection  at  a and 
cross  the  arc  at  d;  draw  a line  from  c through  the  intersection  of  the  arc  at 
d,  and  it  will  be  perpendicular  to  the  right  line  a b . 

On  the  end  of  a right  line  to  draw  a line  which  will  be  perpendicular  or 
at  right  angles  with  that  right  line: — 

Let  a b fig.  G be  the  right  line ; at  some  point  over  this  line,  as  at  d,  place 
one  foot  of  the  compasses  and  extend  the  other  to  the  end  of  the  line  at  Ih 
and  describe  the  circle  at  ab  c through  the  intersection  at  a and  the  centre 
at  d,  draw  the  line  a d c,  from  c draw  the  line  c b which  will  be  perpendicular 
to  the  line  a b. 

To  describe  a square  whose  sides  shall  all  be  equal  to  a given  right  line: — - 

Let  a b fig.  H be  the  line  given;  with  one  foot  of  the  compasses  on  a des- 
cribe the  arc  fc  b;  then  with  one  foot  in  b describe  a c e,  divide  the  space  c 
b into  two  parts  at  d;  with  the  extent  c d in  the  compasses  set  off  cf  and  ce; 
connect  a fife  and  e b and  the  square  will  be  complete. 

To  lay  off  a square  with  a ten  foot  rod : — - 

Let  a b fig.  I be  the  given  line  ; with  eight  feet  of  the  rod  from  b make  a 
mark  at  «,  with  six  feet  from  b describe  an  arc  at  c;  and  with  ten  feet  from  a 
cross  the  arc  at  c;  draw  the  line  from  the  intersection  at  c to  b and  it  will  be 
square  with  the  line  a b . 

Three  points  (not  in  a right  line)  or  a small  part  of  a circle  being  given  to 
find  a centre  which  will  describe  a circle  to  pass  through  the  point  or  complete 
the  circle:— 

Let  ab  c fig.  K be  the  three  points  or  part  of  a circle  given ; to  find  the 
centre  of  which,  place  the  foot  of  the  compasses  in  a and  describe  an  arc  at  d 
and  c,  with  the  same  extent  place  one  foot  of  the  compasses  in  b , and  cross 
the  arcs  of  d and  c;  and  at  the  same  time  describe  arcs  at  e and  f*  then  with 
the  same  extent  of  the  compasses  and  one  foot  in  c cross  the  arc  at  e and  fi, 
draw  lines  through  the  intersections  of  the  arcs  at  d and  c to  g;  and  through 
the  intersections  e and  jf  to  g;  the  intersection  of  these  lines  at  g is  the  centre 
by  which  a circle  may  be  drawn  to  pass  through  the  points  a h ct 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


8 

To  describe  an  Ellipsis  mathematically  to  any  given  length  and  breadth: — 

Let  A C fig.  A Plate  2 be  the  transverse,  and  B B the  conjugate  diame- 
ters ; take  half  of  35  D and  set  it  in  from  C to  0 ; divide  what  remains  from 
0 to  3 into  three  equal  parts:  set  one  of  these  parts  from  0 to  a;  make  the 
distance  from  3 to  b equal  to  the  distance  from  3 to  a,  with  the  extent  a b in 
the  compasses  describe  the  arcs  dbc  and  dac;  these  four  points  are  the 
centre  by  which  the  Ellipsis  is  drawn,  and  the  dotted  lines  passing  through 
them  and  touching  the  Ellipsis  mark  how  much  of  it  is  drawn  by  each  centre. 

To  describe  an  Ellipsis  with  a tramel:— 

AECD  fig,  B represents  the  tramel,  being  two  strips  crossing  each 
other  at  right  angles  and  halved  together.  In  the  middle  of  these  strips  is  a 
groove,  a d is  the  tramel  rod  on  which  are  blocks  made  moveable  like  gauge 
heads,  with  a pin  to  each  small  enough  to  slide  along  the  groove ; at  d is  a pen- 
cil ; fix  the  block  or  pin  c so  far  from  d as  to  be  equal  to  half  the  conjugate  dia- 
meter, and  the  block  or  pin  b so  far  from  d as  to  he  equal  to  half  the  transverse 
diameter,  place  the  pins  in  the  groove  of  the  tramel  and  on  sliding  them  along 
the  pencil  at  d will  describe  an  Ellipsis, 

An  Ellipsis  being  given  to  find  the  centre  and  two  axes  thereof : — 

Let  ABC!)  fig.  C he  the  Ellipsis ; draw  a line  at  random,  as  a 6,  through 
another  part  of  the  Ellipsis  draw  d e parallel  to  ah;  through  the  middle  of 
each  of  these  draw  ej, \ on  the  middle  of  which  is  the  centre  of  the  Ellipsis,  on 
which,  with  an  extent  of  the  compasses  of  less  than  half  the  transverse  and 
more  than  half  the  conjugate  diameters,  describe  the  circle  intersecting  the 
Ellipsis  in  g hi  and  k ; through  the  middle  of  gh  and  ik  draw  the  line  A C 
which  is  the  transverse  diameter;  bisect  or  divide  this  at  right  angles  and  it 
will  give  the  conjugate  diameter. 

To  describe  a regular  Polygon  of  any  number  of  sides,  the  length  of  one 
side  being  given  : — 

Let  a b fig.  D be  the  side  given ; on*  one  end  as  b with  any  convenient  ra- 
dius or  extent  of  compasses  describe  a semicircle;  divide  the  round  of  this 
into  as  many  parts  as  the  Polygon  is  to  iiave  sides,  leave  out  two  of  these 
parts,  and  with  the  length  a b in  the  compasses  set  off  from  b to  c,  then  from 
c to  d,  then  d to  e;  when  this  is  done,  place  the  compasses  on  a,  set  off  af, \ 
then  fg , connect  g and  r,  and  the  Polygon  is  completed. 


PL  J'J  1 . //. 


s/.w 


i 


PL  //'A'.  ///. 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


PLATE  .3. 


To  describe  an  Octagon  within  a square,  fig,  1:— « 

Draw  the  diagonal  a 6,  and  with  the  extent  h d draw  the  are  cde,  then 
will  e f be  the  quantity  to  lay  off  from  each  corner  of  the  square,  or  if  it  is 
a piece  of  wood,  to  set  the  gauge  for  the  quantity  to  be  taken  off  from  each 
corner. 

To  describe  a segment  of  a circle  of  large  radius  with  a train  el,  fig.  2:— 

Let  a b be  the  chord,  and  d c the  height  of  the  segment;  lay  a strip  with 
a straight  edge  from  b to  c,  and  then  another  from  c to  e parallel  to  a by 
fasten  them  together  and  brace  them  with  a lath,  fix  pins  in  the  points  a c 
and  fi,  and  slide  the  frame  or  tramel  along  these  pins,  and  the  angle  of  it  will 
describe  the  segment  required. 

To  draw  a segment  of  a circle  by  intersecting  lines,  fig.  3 

Let  ah  be  the  length  or  chord  of  the  segment,  and  c d the  height; 
draw  the  chord  line  db , at  right  angles  to  which  draw  A e;  through  d and 
parallel  to  aft,  draw  fde ; divide  fe  and  ah  into  any  even  number  of 
parts,  say  10,  connect  those  divisions  by  the  line  1 1,  2 2,  3 3,  ; draw 

b h perpendicular  to  a §,  and  diyide  it  into  5 parts ; from  the  centre  d draw 
lines  to  these  divisions,  and  where  these  lines  cross  the  lines  11,  2 2,  3 3, 
%c.,  are  the  points  through  which  to  trace  the  segment. 

To  draw  the  arches  of  a groin,  so  that  they  shall  intersect  or  mitre  truly 
■together,  over  .a  straight  line,  from  a given  arch  of  any  form,  .fig.  4: — ■ 


€ 


10  THE  YOUNG-  CARPENTER’S  ASSISTANT. 

A is  the  plan  to  be  covered,  B the  arch  of  one  side,  which  is  here  a semi- 
circle, draw  the  chord  line  a ft,  which  divide  into  any  number  of  parts ; from 
the  centre  draw  lines  through  those  parts,  touching  the  arch,  draw  ft  c per- 
pendicular to  the  base  line,  and  from  the  crown  of  the  arch  at  a,  draw  lines 
through  the  points  of  intersection  of  the  former  lines  with  the  arch  line,  to 
the  perpendicular  line  ft  c ; lay  off  the  width  of  one  of  the  other  arches  as 
ft  c at  C being  the  width  of  one  end  of  the  plan  A,  set  up  the  height  of  the 
middle  of  the  arch  the  same  as  B,  draw  the  two  chord  lines  a ft  and  a c,  di- 
vide them  into  the  same  number  of  parts  as  a ft  in  B,  transfer  the  perpendi- 
cular line  ft  c from  B to  C,  draw  lines  from  the  middle  of  the  base  through 
the  divisions  on  the  chord  line,  and  from  the  top  of  the  arch  to  the  divisions 
on  the  perpendicular  line,  through  the  intersection  of  these  lines  the  arch 
line  required  may  be  traced:  I)  is  the  form  of  the  groin  or  diagonal  bracket 
traced  in  the  same  manner.  This  method  may  be  applied  to  arches  of  any 
form  whether  Elliptical,  Circular  or.  Gothic. 

To  divide  a right  line  into  any  number  of  equal  parts,  fig.  5 

Let  A B be  the  right  line  given,  to  be  divided  into  eight  parts  ; from  one 
end  of  it  as  at  A,  draw  a line  making  an  acute  angle,  as  the  line  A a,  from  - 
the  other  end  of  the  line  at  B,  draw  another  line  parallel  to  A a,  as  B ft, 
set  off  on  these  two  lines,  beginning  at  A and  B,  the  number  of  divisions 
required,  without  regard  to  their  turning  out  to  the  length  of  the  line,  as  1, 
2,  3,  4,  fijc.  connect  these  by  the  lines  1 7,  2 6,  and  where  these  lines 
cross  the  line  A B is  the  point  of  division  required. 


3 -Parts 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


if 


PLATE  4 

REPRESENTS  A FEW 


MOULDINGS* 


The  centres  for  drawing  which,  being  all  represented,  are  perhaps  suffi- 
ciently clear. 

The  Consol  or  Key,  should  be  in  height  equal  to  twice  its  width  at  bot- 
tom. 

The  Yase  and  "Baluster  are  to  shew  the  manner  of  drawing  compound 
circular  lines,  the  meeting  of  the  dotted  lines  shewing  the  centre.  The  stu- 
dent will  observe,  that  when  it  is  required  to  draw  two  or  more  circular 
lines  of  different  radii,  which  are  to  appear  smooth  round,  the  two  cen- 
tres and  the  place  of  meeting  of  the  different  circles,  should  always  be  in  a 
right  line.  - 


THE  YOUNG  CARPENTER'S  ASSISTANT. 


1% 


PLATE  5> 


Fig.  A shews  the  method  of  enlarging  a draught  of  a cornice ; let  the 
line  a ft  be  the  height  to  which  it  is  required  to  enlarge  the  cornice. 
Wherever  this  line  crosses  the  different  members  of  the  draught  mark  it, 
and  these  marks  will  give  the  height  of  the  different  members  of  the  enlarged 
cornice.  To  find  the  projection,  enlarged  in  proportion:  from  the  point  c 
directly  over  the  front  of  the  wall  draw  the  line  cd  at  right  angles  or 
square  with  the  line  a ft,  on  this  line  square  over  the  projection  of  the  dif- 
ferent members  of  the  draught,  and  that  will  give  the  projection  required. 

Fig.  B is  the  method  of  contracting  a draught.  Let  a ft  he  equal  to  the 
height  of  the  cornice  required,  from  b draw  the  line  h c,  and  where  that 
crosses  the  different  members  of  the  draught,  draw  lines  perpendicular  to 
cross  aft,  which  will  be  the  height  proportioned.  To  find  the  projection, 
contracted  in  proportion:  from  c draw  the  line  ca  at  right  angles  or  square 
with  h c,  then  draw  down  the  projection  of  the  draught  on  this  line,  and 
from  this  line  carry  them  square  out  to  the  line  dr, ♦which  will  be  the 
projection  contracted  in  proportion  to  a ft.  These  two  cornices  with  figures 
C and' 33,  may  serve  as  examples  for  the  student  to  apply  to  frontispieces, 
and  the  other  three  E,  F and  G are  examples  of  Stucco  cornice  in  the 
present  fashion,  of  which  G may  ..serve  where  the  story  is  low,  and  but  little 
room  over  the  window. 


PJ..ITE.  / 


Tmboui  Sc. 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


PLATE  6, 


Fig.  A shews  the  manner  of  finding  the  form  of  a raking  cornice,  which 
will  mitre  with  a level  one ; and  the  return  at  top  for  an  open  pediment. 
Let  a be  the  level  cornice ; from  the  face  of  this,  nearly  at  equal  distances 
apart  on  the  face,  draw  lines  parallel  to  the  rake,  then  draw  the  level  lines 
11,  2 2,  §e.  from  the  face  of  the  cornice  a to  the  perpendicular  line  de$ 
draw  fg  at  b square  with  the  rake,  and  make  11,  2 2,  $jc,  at  h equal  to  1 15 
2 2,  fyc.  at  a;  and  trace  the  cornice  through  the  points  1,  2,  3,  4, 
which  will  be  the  form  of  the  cornice  required.  The  return  at  top  is  set  oft" 
in  the  same  manner  from  the  perpendicular  line  h i,  excepting  that  the  pro- 
jections at  a are  taken  on  the  raking  line. 

Fig.  B is  the  method  of  finding  the  sweep  of  a comice  which  will  bend 
round  a circular  wall  and  stand  on  a spring.  Let  a be  a plan  of  the  wall,  d 
the  centre  of  it,  and  h the  cornice  drawn  to  its  proper  spring:  draw  the  line 
c e touching  the  face  of  the  cornice,  and  continued  till  it  intersects  a line 
drawn  perpendicular  from  the  centre  d,  the  intersection  at  c will  be  the  cen- 
tre from  which  to  draw  the  cornice. 

Fig.  C is  the  method  of  drawing  a cornice,  to  bend  round  the  inside  of 
a room,  which  being  done  by  the  same  rule  as  the  former,  needs  no  further 
explanation. 


D 


14 


THE  YOUNG  CARPENTERS  ASSISTANT, 


TO  PROPORTION  THE  FOUR  ORDERS  OF  ARCHITECTURE . 


THE  TUSCAN  ORDER  * 


PLATE  7. 


WHEN  this  order  is  to  stand  on  a Pedestal,  the  whole  height  must  he 
divided  into  five  parts,  one  of  which  is  the  pedestal,  one  fifth  of  the  remain- 
der is  the  Entablature,  the  other  four  fifths  are  the  length  of  the  Column 
including  the  Base  and  Capital:  This  divided  into  seven  parts,  one  of  them 
is  the  diameter  of  the  Column  just  above  its  base;  this  diameter  being 
divided  into  sixty  parts  or  minutes,  is  the  scale  by  which  all  the  mould- 
ings are  proportioned,  both  in  height  and  projection:  a reference  to  fig.  1 
will  explain  the  proportions.  Fig.  2 shews  the  proportion  of  the  mould- 
ings, the  heights,  by  the  scale  of  60  minutes,  being  set  down  on  the  outside 
list  marked  at  top  with  the  letter  H,  and  the  projections  measuring  from 
the  perpendicular  line  of  the  shaft  of  the  Column,  and  the  front  of  the 
Pedestal,  in  the  other  list  marked  P.  The  Column  in  this  order  is  di- 
minished to  45  minutes  at  its  upper  end. 

* Of  the  Tuscan  there  are  no  examples  of  Antiquity  remaining,  excepting  the  Trajan  and  Antonine 
Columns  at  Rome,  which  are  generally  reckoned  of  this  Order,  being  nearer  in  their  proportions  and 
mouldings  to  it,  than  to  any  other.  It  is  supposed  to  receive  its  name  from  Tuscany,  being  more  used 
there  than  elsewhere. 


Plate  7 


'f!  mb 


THE  YOUNG  CARPENTER’S  ASSISTANT 


<5 


THE  DORIC  ORDER.* 


PLATE  8. 


THE  general  proportions  of  this  Order  are  the  same  as  the  Tuscan,  ex* 
cepting  that  the  diameter  of  the  Column  is  one  eighth  of  its  length.  The 
Column  in  this  Order  is  diminished  at  its  upper  end  to  50  minutes ; the 
width  of  the  trigliphs  in  the  frize  is  30  minutes;  the  distance  from  the  mid- 
dle of  one  trigliph  to  the  middle  of  the  next,  7 5 minutes ; this  should  he  at- 
tended to  in  using  this  Order  and  those  that  follow,  in  Porticos,  Colonnades, 
$)C ; as  a trigliph  or  modillion  must  always  stand  exactly  oyer  the  middle  of 
the  Column.  The  distance  between  the  centres  of  modillions  in  this  Order 
is  so  great,  that  the  Columns  cannot  be  coupled,  as  they  frequently  are 
in  other  Orders ; the  flutes  of  the  trigliphs  are  5 minutes  wide  each,  and  sunk 
2 and  a half  minutes.  The  plancers  and  underside  of  the  modillion  are 
represented  in  Plate  13,  and  the  method  of  drawing  the  scotia  of  the  base 
is  shewn  in  Plate  10. 

* Doric,  so  called  from  Doras,  who,  according  to  Vitruvius,  built  a Temple  dedicated  to  Juno  in  the 
City  of  Argos,  wherein  the  proportions  of  this  Order  were  used,  and  which  were  afterwards  adopted  by 
the  Cities  of  Achaia. 

The  ornaments  of  this  Order  clearly  evince  it  to  have  been  the  first  invented  of  all  the  orders  of  Archi- 
tecture. In  many  instances  the  Columns  were  very  short  in  proportion  to  their  thickness,  and  without 
bases ; and  between  the  trigliphs  there  is  generally  placed  a bull’s  skull : the  Architrave  is  sometimes 
made  much  wider  than  here  represented,  with  only  one  facia,  but  I have  preferred  these-  proportions  as 
handsomer. 


16 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


THE  IONIC  ORDER." 


PLATE  9. 


ONE  fifth  of  the  whole  height  of  this  Order  is  given  to  the  Pedestal ; 
one  sixth  of  the  remainder  is  the  entablature,  and  the  Column  being  divided 
into  9 parts,  one  of  them  is  the  diameter.  The  Column  in  this  Order  is 
diminished  to  50  minutes  at  its  upper  end;  the  distance  from  centre  to  cen- 
tre of  the  modillions  is  3 1 minutes. 


* Ionic,  from  Ion  the  son  of  Xuthus,  who,  building'  a Temple  to  Diana,  invented  this  Order.  The 
Ancients  generally  made  their  Capitals  in  this  Order  flat,  and  to  face  only  one  way  j but  the  angular  Capi- 
tal being  thought  by  many  more  convenient,  I have  here  given  that. 


Plate,,  it. 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


17 


PLATE  10. 

To  draw  the  Volute . 

Divide  tlie  whole  height  of  the  volute,  as  in  fig.  1,  into  8 parts ; in  the 
fourth  of  these  from  the  bottom  draw  a circle  equal  to  one  of  those  parts, 
within  which  make  the  square  ah  cd,  which  for  a clearer  explanation  is 
transferred  to  fig.  2,  on  a larger  scale,  in  the  same  position  that  the  small 
one  is  in  the  volute ; divide  the  square  into  4 parts  by  the  line  1 3 and  2 4, 
divide  each  of  these  lines  into  6 parts,  and  number  them  as  is  there  repre- 
sented; to  draw  the  volute,  place  one  foot  of  the  compasses  on  1 in  the  eye 
of  the  volute,  extend  the  other  to  1 on  the  top  of  the  volute,  and  draw  round 
to  2 on  the  edge  of  the  volute,  then  place  the  one  foot  on  2 in  the  square  or 
eye,  and  draw  the  other  round  to  3,  and  so  on  taking  each  centre  in  nume- 
rical order  till  it  is  all  drawn ; to  find  the  centre  for  the  inside  of  the  list, 
set  in  from  each  centre  one  fourth  of  the  distance  from  that  to  the  next  one, 
as  is  represented  in  fig.  2 ; for  the  width  of  the  list  at  top  take  one  sixteenth 
of  the  whole  height,  being  1 and  a half  minutes  ; to  draw  that  part  of  the 
volute  from  1 to  0,  set  the  compasses  at  the  bottom  of  the  square. 

Fig.  3 explains  the  manner  of  drawing  the  Scotia  of  the  Attic  Base  ; di- 
vide the  height  of  the  scotia  into  3 parts,  at  the  distance  of  one  of  these  parts 
from  the  top  draw  the  line  ah  c,  on  which  b and  c are  the  centres  for  draw- 
ing the  scotia,  and  the  line  ah  c is  the  limit  of  each  quarter. 

Fig.  4 is  the  Ionic  Modillion,  to  draw  which  divide  the  bottom  or  pro- 
jection into  six  parts,  as  1,  2,  3,  £yc. : two  and  a half  of  these  divisions  up 
over  a is  the  centre  of  from  a to  h ; under  2 one  and  a half  divisions  down, 
is  the  centre  of  from  b to  c;  and  at  2 is  the  centre  of  from  c to  d;  the  line 
ef  from  one  centre  to  the  other  marks  the  limits  of  each  arc.  Here  I will 
take  the  liberty  of  remarking  that  when  circles  of  different  radii  unite,  and 
are  required  to  appear  smooth  round,  the  two  centres  and  place  of  meeting 
should  always  be  on  one  line,  as  may  appear  in  the  two  last  examples. 

Fig.  5 is  the  Ionic  Capital  on  an  enlarged  scale,  with  a plan  by  which,  a 
clearer  idea  may  be  had  of  angular  volutes. 


IS 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


THE  CORINTHIAN  ORDER.* 


PLATE  XL 


THE  general  proportions  of  this  Order  are,  one  fifth  of  the  entire  height 
for  the  Pedestal,  one  sixth  of  the  remainder  for  the  entablature,  and  one 
tenth  of  the  height  of  the  Column  is  the  diameter;  the  column  diminishes  to 
50  minutes  at  its  neck,  the  modillions  are  11  and  a half  minutes  wide,  and  35 
minutes  from  centre  to  centre  of  each,  the  dentils  are  3 and  a half  minutes 
wide,  and  the  space  between  each  two  thirds  of  a dentil.  For  an  enlarged 
Capital  and  Modillion  see  next  Plate. 


* The  following  origin  of  the  Corinthian  Order  is  given  by  Vitruvius: 

“A  marriageable  young  lady  of  Corinth  fell  ill  and  died ; after  the  interment  her  nurse  collected  toge- 
ther sundry  ornaments  with  which  she  used  to  be  pleased ; and  putting  them  into  a basket  placed  it  near 
her  tomb;  and  lest  it  should  be  injured  by  the  weather  she  covered  it  with  a tile.  It  happened  the  basket 
was  placed  on  the  root  of  an  acanthus,  which  in  the  Spring  shot  forth  its  leaves ; these  running  up  the  sides 
of  the  basket,  naturally  formed  a kind  of  Volute,  in  the  turn  given  by  the  tile  to  the  leaves.  Happily  Ca- 
limachus,  a most  ingenious  sculptor  passing  that  way  was  struck  with  the  beauty,  elegance,  and  novelty 
of  the  basket  surrounded  by  the  Acanthus  leaves ; and,  according  to  this  idea  or  example  he  afterwards 
made  Columns  for  the  Corinthians,  ordaining  the  proportions  such  as  constitute  the  Corinthian  Order.” 

[. Rudiments  of  Ancient  Architecture .J 


Plait,  m 


I8/Hd 


/v.  / /'/:  xjj 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


19 


PLATE  12. 


Fig.  A is  the  Corinthian  Capital,  the  height  being  figured  from  the  scale 
of  minutes  is  plain  to  inspection  ; to  find  the  place  for  each  leaf,  draw  a semi- 
circle as  a 4 j&,  equal  to  the  diameter  of  the  neck  of  the  Column,  divide 
the  round  of  this  into  8 parts,  and  from  each  of  these  draw  lines  through  the 
Capital;  these  lines  mark  the  place  of  each  stock,  or  middle  of  each  leaf. 
It  may  not  he  improper  to  remark  that  the  inner  break  in  the  abacus  or 
upper  moulding  of  the  Capital  should  not  have  as  much  projection  as  the 
outer  one,  as  at  d;  if  the  real  appearance  of  the  moulding  at  d was  given  it 
would  be  very  near  a straight  perpendicular  line,  but  as  that  would  not  look 
well,  a little  liberty  is  taken  to  improve  the  appearance. 

Fig.  B is  the  same  subject  shaded,  for  the  assistance  of  students. 

Fig.  C is  the  Corinthian  Modillion,  the  parts  being  figured  from  the  scale 
of  minutes ; fig.  D is  the  eye  of  the  Modillion  on  an  enlarged  scale ; the 
centres  are  numbered,  each  centre  serving  for  one  quarter  of  a circle,  and 
these  quarters  are  numbered  in  the  Modillion. 


THE  YOUNG  CARPENTER’S  ASSISTANT 


SO 


PLATE  13. 


In  tills  Plate  is  represented  the  Planners  of  the  Corinthian,  Ionic,  and  Do- 
ric Orders,  at  an  external  angle:  the  student  may  observe  the  Modillions 
in  all  eases  correspond  with  the  Column;  and  in  the  Doric  Order  they  are 
enriched  with  drops,  the  shape  of  which  is  represented  by  the  drops  of  the 
triglyphs. 


PjLylTB.  X®. 

S ..... 


Pl.  l TE  KIE 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


Si 


PLATE  14. 


Of  diminishing  Columns . 

Columns  are  sometimes  diminished  from  the  bottom,  and  sometimes  the 
diminishing  commences  at  one-third  of  the  height  from  the  base.  Fig.  A 
represents  a Column  with  the  lower  third  part  undiminished;  divide  the  up- 
per two-thirds  into  any  number  of  equal  parts,  say  5,  as  at  1 2 3 4 5 ; ah 
at  top  is  equal  to  the  full  thickness  below,  set  in  on  each  side  from  a and  h 
half  the  difference  between  the  size  of  the  Column  at  top  and  that  at  bottom 
as  a c and  h d,  divide  each  of  these  into  the  same  number  of  parts  that  the 
upper  two-thirds  of  the  Column  is  ; draw  lines  from  e andjf  to  each  of  those 
parts,  and  where  these  lines  cross  the  divisions  12  3 and  4 will  be  the  points 
through  which  to  draw  the  edge  of  the  Column. 

When  Columns  are  made  of  plank  glued  up,  the  plank  must  each  be  di- 
minished before  glueing,  in  the  same  manner  as  if  they  were  each  a com* 
plete  Column. 

Fig.  B is  a representation  of  a Column  fluted;  draw  a semi-circle  on  each 
end  of  the  Column;  divide  the  round  of  this  into  12  parts,  and  each  of  these 
again  into  8 parts,  6 of  these  go  to  a flute  and  2 to  a fillet;  observe  that  a 
flute  will  always  be  exactly  in  the  middle  of  the  Column. 

Fig.  C.  is  a fluted  Column^  shaded,  to  shew  the  effect. 


F 


THE  YOUNG-  CARPENTER’S  ASSISTANT.. 


PLATE  15. 


In  this  Plate  are  given  the  lines  of  a pitch  pediment  frontispiece ; in  this 
the  Column  is  made  ten  diameters  in  height ; this  is  on  a supposition  that  the 
door  is  for  a town  house  with  a narrow  front,  in  which  case  the  true  propor- 
tion of  the  Orders  may  be  dispensed  with,  and  regard  had  to  the  general  pro- 
portion of  the  building;  but  in  country  houses  where  the  front  may  be  well 
proportioned,  the  nearer  we  adhere  to  the  Orders,  the  better  will  be  the  ap- 
pearance in  general.  In  fixing  on  the  size  of  a door  for  the  front  of  a house, 
it  is  better  to  make  it  rather  too  large  than  too  small,  as  few  things  will  make 
a house  look  meaner  than  a contracted  front  door;  and  where  it  will  admit 
of  it.  the  door  should  be  as  wide  as  half  its  height. 


QO-lzSk 


PL  46' 


G. Biddle  del. 


W.KneafsJc. 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


$3 


PLATE  16. 


In  this  plate  the  foregoing  subject  is  shaded.  I will  here  observe  that 
the  light  should  always  come  from  the  left  side,  and  at  an  angle  of  forty-five 
degrees,  or  on  a mitre,  both  horizontally  and  vertically,  by  which  the  sha- 
dows of  projecting  moulding,  §c.  will  be  always  equal  to  their  projections  ; 
this  will  be  better  understood  by  examining  the  Plate. 

As  in  geometrical  drawings  the  relief  or  projection  of  the  object  can  only 
be  shewn  by  the  shading,  the  student  should  make  it  his  business  to  under- 
stand the  effects  of  light  and  shade;  in  those  parts  that  stand  forward,  or 
project,  the  shade  should  be  strong,  and  the  part  receiving  the  light  should 
be  bright,  and  as  the  distance  increases  both  lights  and  shades  should  be 
weaker;  all  moulding,  whether  swelling  or  coving,  will  have  both  a stronger 
light  and  shade  than  plane  surfaces  exposed  to  an  equal  degree  of  light,  and 
all  surfaces  on  the  same  plane,  not  in  a shadow,  should  have  the  same  tint 
or  degree  of  shade. 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


m 


PLATE  17, 


In  this  Plate  is  given  a flat  pediment  frontispiece : the  observations  made 
on  the  preceding  example  with  respect  to  general  proportions,  will  apply  to 
this* 

After  the  student  has  fixed  on  the  size  of  his  door,  lie  will  draw  the  arch, 
and  divide  the  half  round  of  that  into  six  parts,  one  of  which  is  the  width 
of  the  key  at  bottom,  and  two  of  them  will  be  its  height,  which  is  also  the 
top  of  the  Columns : he  may  then  find  the  diameter,  and  make  a scale  for 
proportioning  the  mouldings. 


PLATE  18 


Is  the  foregoing,  shaded. 


n.i7. 


• - 


LJLTK  \f\ 


Scale  cf  J^ccC 


THE  YOUNG  CARPENTER  S ASSISTANT. 


m 


PLATE  19 


Is  a Dormer  window:  the  circular  part  of  the  sash  is  Gothic;  in  drawing 
which  the  compasses  should  be  kept  at  the  same  extent  as  in  drawing  the 
arch,  and  the  centre  carried  out  on  the  top  of  the  impost.  If  fluting  or  den- 
tils are  used  for  dormers,  they  should  be  larger  in  their  proportions  than  in 
common  work,  and  the  pitch  of  the  pediment  may  be  rather  steeper  than 
in  frontispieces,  as  the  height  will  take  off  something  from  the  pitch. 


2B 


THE  YOUNG  CARPENTER'S  ASSISTANT. 


PLATE  20 


Is  a Venetian  window  in  tlie  Ionic  Order.  In  giving  a design  for  a win- 
dow  of  this  kind,  the  size  of  the  glass  should  be  made  to  correspond  with 
the  entablature,  so  that  it  will  be  equal  in  height  to  one  or  two  lights ; and 

the  sashes  in  the  side  window  to  range  with  the  middle  one. 


4 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


m 


GENERAL  OBSERVATION S. 


THE  four  Orders  of  Architecture  have  been  selected  from  such  of  the: 
remains  of  Ancient  buildings  as  are  supposed  to  be  the  most  beautiful;  and 
Paladio  has  been  generally  allowed  to  have  been  the  best  judge  among  the 
Moderns,  who  have  given  the  proportions  of  the  remains  of  Antiquity ; the 
proportions  in  this  book  are  pretty  nearly  the  same  as  his;  the  differences  are 
principally  these: — There  being  no  remains  of  Antiquity  in  the  Tuscan  Or- 
der with  an  entablature,  and  Paladio  having  given  a very  poor  one ; succeed- 
ing  Moderns  have  given  that  >rdcr  an  entablature  near  the  proportion  of 
the  others,  which  I have  adopted.  The  Doric  Order  has  no  example  of  a 
pedestal  among  the  Ancients,  and  in  the  most  admired  building  of  Antiquity 
in  that  Order,  the  Columns  have  no  base;  and  I believe  there  is  no  example 
remaining  of  the  Ionic  Order  having  modillions,  but  dentils  only,  though  of 
late  modillions  have  been  as  frequently  applied  as  dentils.  In  the  foregoing 
examples  I have  given  to  the  Tuscan  and  Doric  Order  one-fifth  of  the 
height,  exclusive  of  the  Pedestal,  for  the  entablature;  the  Ionic  and  Co- 
rinthian each  have  one-sixth ; in  situations  where  there  are  one  or  more 
Orders  over  another,  this  proportion  in  the  upper  should  be  altered;  the 
richer  Order  always  being  uppermost,  the  Ionic  and  Corinthian  may  then 
have  one-fifth  for  the  entablature.  These  proportions  are  all  for  small 
buildings,  but  if  the  buildings  are  large,  exceeding  40  feet  in  height,  the  en- 
tablature should  increase  proportionally;  if  one  order  only  is  used,  the  Tus- 
can and  Doric  may  have  one-fourth,  Ionic  and  Corinthian  one-fifth;  and  if 
several  Orders  are  used,  the  Ionic  and  Corinthian  may  have  each  one-fourth 
of  the  height  of  the  Order,  exclusive  of  the  Pedestal,  for  the  height  of  the 
entablature. 


^8 


THE  YOUNG  CARPENTER’S  ASSISTANT 


PLATES  21  and  22 


Are  four  examples  of  Mantles.  In  ornamenting  a mantle  the  young  car- 
penter would  do  well  to  endeavour  at  an  imitation  of  something  natural,  and 
not  to  cover  his  work  with  unmeaning  holes  and  cuttings  of  a gouge. 

Mantles  and  all  other  Architectural  objects  should  always  have  a due  pro- 
portion of  plain  surfaces,  as  a contrast  to  the  ornamented  parts.  With  strict 
propriety  the  faces  of  Architraves  should  never  be  fluted  or  carved  ; it  very 
rarely  occurs  among  the  beautiful  remains  of  antiquity,  whose  artists  seem 
to  have  understood  true  taste  much  better  than  those  of  the  present  day,  or 
their  works  would  not  have  excited  the  admiration  of  so  many  ages.  The 
use  of  composition  ornaments,  on  mantles,  if  judiciously  chosen  and  placed, 
may  have  a very  good  effect,  but  care  should  be  taken  not  to  overload  the 
work  with  them,  and  that  there  be  a proper  connection  between  the  orna- 
ments on  different  parts. 


Plate 


V. 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


m 


PLATE  23 


Of  Intercolumniation , 


This  plate  represents  two  Porticos,  one  Doric  and  the  other  Corinthian ; 
it  is  necessary  in  all  Orders  where  there  are  modillions  that  the  Column 
should  be  exactly  under  a modi!! ion.  The  Doric  Order  does  not  admit  of 
the  Columns  being  coupled,  as  they  are  in  the  Corinthian ; the  space  from 
centre  to  centre  of  the  modillions  or  trigliphs  being  but  75  minutes,  when 
two  columns  with  the  bases  touching  would  be  80  minutes  from  centre  to 
centre.  The  examples  in  the  Plate  are  both  of  small  porticos,  and  to  admit  of 
a convenient  space  between  the  Columns,  the  intercolumniation,  or  space  be- 
tween the  Columns,  is  greater  than  it  should  be  when  the  Porticos  are  large, 
and  a graceful  appearance  is  required;  to  admit  of  a free  passage  to  the 
door  the  middle  Columns  are  placed  further  apart  than  the  others,  though 
this  is  sometimes  dispensed  with,  and  the  spaces  made  uniform. 


H 


30 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


PLATE  24, 

Of  Hoofs . 

This  plate  gives  three  examples  of  framing  for  Principal  rafters  for  roofs ; 
in  designing  these,  the  material  for  the  covering  should  be  considered;  whe- 
ther it  would  require  a strong  frame  and  steep  pitch,  as  tile  or  slate,  or  whe- 
ther shingles,  or  any  kind  of  metal  is  to  be  used.— Both  the  strength  of 
framing,  and  the  pitch  of  the  examples  in  the  plate,  are  'calculated  for  shingles.. 

It  is  a considerable  improvement  in  framing  principal  rafters  to  keep  them 
below  the  purlins,  and  to  let  the  Jack-rafters  lay  on  the  purlins ; the  roof, 
besides  being  much  stiffer,  being  easier  regulated,  or  kept  straight  on  the 
top ; and  the  feet  of  the  rafters  are  brought  so  far  from  the  end  of  the  girder 
as  to  be  much  stronger  in  their  footing;  the  dotted  lines  at  the  foot  of  the 
rafter,  shew  the  shape  of  the  tenon,  which  should  be  about  half  the  thick- 
ness of  the  rafter,  and  the  ends  to  fit  hard  in  the  mortise.— A screw-bolt 
to  go  through  the  girder  up  into  the  post,  is  a better  way  of  supporting  the 
girder  than  a strap;  the  nut  is  let  into  the  post  in  the  same  manner  that  a 
bedstead  screw  is. 

The  customary  pitch  for  roofs  which  are  covered  with  shingles,  is,  one- 
third  of  the  span  for  the  height;  and  to  find  the  length  of  the  rafter  take  half 
the  span  and  square  it,  and  the  whole  height  and  square  that,  add  the  square 
of  these  two  together,  and  from  that  sum  extract  the  square  root,  w hich  will 
he  the  length  of  the  rafter. 

Example. 

Suppose  a roof  to  span  45  feei;  to  rise  one  third,  or  15  feet 


Half  of  45  is  22.5 

The  height  15 

22.5 

15 

11 25 

75 

450 

15 

450 



Square  of  half  span  506.35 

•Square  of  the  height  225 

2®h/ 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


81 


Square  of  half  span  506.25 
Square  of  the  height  225. 


731.25(27.0  feet,  length  of  rafter 

4 


47)331 

329 


540)225 


PLATE  25, 


Of  Domes . 

A is  tlie  section  and  B is  the  half  plan  of  the  framing  for  a dome  to  have 
a vaulted  ceiling  and  an  opening  for  a sky-light;  this  frame  is  taken  from  P. 
Nicholson,  and  to  me  appears  to  be  abundantly  too  strong ; if  we  consider 
that  the  purlins  form  a number  of  bands  round  a roof  of  this  form,  which 
must  burst  before  the  roof  falls  in,  we  will  find  that  we  have  little  else  to  do 
hut  to  connect  the  ends  of  the  purlins  so  as  to  form  hoops  round  the  dome, 
and  it  is  impossible  for  the  roof  to  fall  in  while  the  hoops  are  entire. 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


SB 


PLATE  26. 


Borne  of  hoards  and  plank . 

Fig.  A is  the  section  of  a Dome  made  with  thin  boards  and  small  pieces 
of  plank ; the  principle  of  tills  form  of  roof  consists  in  placing  a number  of 
hoops  one  above  the  other,  and  of  such  sizes  as,  when  properly  placed,  will 
form  the  contour  of  the  Dome  ; these  hoops  are  here  formed  by  pieces  of 
plank,  represented  by  fig.  D at  the  bottom  of  the  Plate ; near  each  end  of  this 
is  a pretty  long  mortise,  the  position  of  these  is  shewn  in  the  section  A by 
ddd;  fig.  C is  one  of  the  ribs  or  rafters  with  a mortise  in  the  middle  of  it 
long  enough  to  receive  two  of  fig.  B,  and  at  each  end  a sliding  mortise  of 
half  that  length,  represented  in  section  A by  c c c;  when  these  are  to  be  put 
together,  the  wall  plate  (which  should  be  of  two  thicknesses  of  boards,  and 
made  to  break  joint  (should  be  first  laid,  and  then  a piece  of  the  rafter,  fig. 
C,  should  be  fixed  upright  in  its  proper  place  and  secured  by  a tenon  at  the 
lower  end,  which  must  go  through  the  plate ; it  should  be  observed  that  the 
rafters  are  of  two  thicknesses,  which  should  break  joint,  of  course  one  of  the 
first  pieces  should  be  but  half  the  length  of  fig.  C ; when  one  set  of  the  raf- 
ters are  fixed  all  round,  the  pieces  fig.  B which  form  the  hoops,  or  which  I 
shall  call  the  purlins,  are  fixed  in  them  and  secured  by  wooden  keys  which 
are  driven,  one  on  each  side  of  the  rafter  through  the  mortise ; by  driving 
these  keys  more  or  less,  the  hoop  may  be  lengthened  or  contracted,  so  as  to 
bring  it  to  the  exact  form  or  contour  of  the  Borne,  after  the  first  set  of  pur- 
lins are  fixed  and  properly  keyed  another  set  of  rafters  are  placed,  and  then 
another  set  of  purlins,  until  the  Borne  is  complete. 

The  figure  in  the  plate,  for  the  sake  of  making  its  parts  more  clear,  has 
been  drawn  considerably  out  of  proportion,  the  materials  being  much  too 
large,  and  a much  greater  number  of  purlins,  would  be  proper.  This  prin- 
ciple of  covering  may  he  extended  to  a great  span,  and  when  the  rafters 
come  too  close  together  at  the  top,  every  other  one  may  be  left  out. 


lyL  26. 


b.  n 


if.  'A  hca  7-  . 


Fit;  C. 


_f/7/  Jl. 


THE  YOUNG  CARPENTERS  ASSISTANT* 


■33 

PLATE  27, 

Hip  Roofs s 

Fig.  A is  a square  plan,  to  be  covered  with  a Hip  Roof;  to  find  the  length 
of  the  hip  rafter,  draw  the  diagonals  ah  § c d which  will  bisect  each  other 
at  right  angles  at  e;  make  ef  equal  to  the  height  of  the  roof,  and  draw  af 
whicJi  will  be  the  length  of  the  hip  rafter;  to  find  the  bevel  of  the  back,  draw 
i ft  at  right  angles  with  ae  to  cut  it  in  any  point  as  ft,  place  one  foot  of  the 
compasses  in  ft  and  extend  the  other  to  the  back  of  the  rafter  af  and  describe 
a semicircle  to  cut  the  base  line  ae  at  g,  then  draw  g i and  g ft,  which  will 
be  the  backing  of  the  hip,  as  is  shewn  by  the  level  at  B;  but  the  best  way  of 
working  it  is  by  the  side  bevel  at  C,  which  is  made  by  drawing  I k parallel 
to  a e . 

Fig.  B is  an  oblong  rectangular  plan  to  be  covered,  with  a ridge  in  the 
middle ; make  c d on  the  ridge  equal  to  half  the  width  a b and  draw  a cl,  at 
right  angles  to  which  make  d e equal  to  the  height  of  the  roof,  and  draw  a e, 
which  will  be  the  length  of  the  hip  rafters ; as  these  may  also  answer  for 
sky  lights,  and  the  hip  rafters  of  those  are  sometimes  mitred  together,  the 
bevel  for  the  mitre  is  here  given. 

Fig.  C is  the  same  plan  as  the  foregoing  to  be  covered  without  any  ridge; 
draw  two  diagonal  lines  to  cross  each  other  in  the  centre  at  c ; draw  ef  equal 
to  the  height  of  the  roof  and  at  right  angles  with  a c,  and  draw  af  the  hip 
rafter;  to  find  the  backing  draw  mb  at  right  angles  with  ac,  and  proceed 
as  in  the  former  cases,  when  the  two  bevels  I)  and  E will  he  found  by  mak- 
ing their  stocks  parallel  to  the  base  line  ac;  at  F is  given  the  bevel  for  mi- 
tring hips  for  sky  lights,  found  by  drawing  op  at  right  lines  with  the  diago- 
nal or  base  line. 

Fig.  13  is  an  octangular  plan;  the  hips  are  found  in  the  same  manner  as 
the  preceding,  by  making  the  height  ah  at  right  angles  to  one  of  the  base 

lines,  the  bevel  is  shewn  at  E. 

Fig.  E is  the  plan  whose  sides  are  parallel  hut  the  ends  out  of  square;  to 
find  the  hips,  on  each  end  as  a diameter,  draw  a semicircle,  and  from  the  two 
centres  draw  the  ridge,  where  the  semicircles  cross  this  will  be  the  points  to 
draw  the  base  lines  for  the  hips ; the  bevels  F&  G are  found  as  before  directed. 

I 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


34j 


PLATE  28, 


In  this  plate  is  shewn  the  manner  of  drawing  the  section  of  an  eave  ; af- 
ter the  form  of  the  cornice  is  fixed  on,  a section  of  it  should  be  drawn  either 
by  a proper  scale,  or  to  its  full  size,  and  then  the  joist  should  be  drawn  with 
its  lower  edge  on  the  plancere ; from  the  top  of  the  cornice  draw  the  pitch 
of  the  roof,  and  from  that  set  down  the  lath,  rafters,  £jc : and  it  will  shew 
the  proper  place  for  the  raising  piece. 

To  proportion  the  Cornice  to  the  height  of  the  Building. 

Divide  the  whole  height  into  nineteen  parts;  one  of  these  will  be  the 
height  of  the  Cornice : this  is  a general  rule,  which  may  be  varied  to  suit 
circumstances,  as  in  a very  high  building,  a steeple  for  instance,  it  would  be 
too  much ; and  in  a very  low  one  it  would  be  rather  too  little  ; and  as  every 
thing  is  in  some  degree  regulated  by  fashion,  this  should  be  attended  to : the 
present  fashion  would  he  -something  smaller  than  the  above  proportion. 


Pl./ITF.  ffll. 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


35 


PLATE  29. 

Centres  for  Arches . 

In  making  centres,  the  maimer  in  which  the  framing  is  strained  should 
be  well  understood,  as  frequently  a piece  of  timber  which  is  intended  to 
form  a tie,  and  framed  to  answer  the  end  of  one,  will  by  an  alteration  of  the 
pressure  on  the  centre,  in  turning  the  arch,  become  a strut;  and  so  vice 
versa,  a strut  become  a tie;  and  joints  which  it  was  expected  would  be 
pressed  hard,  have  become  open,  and  required  strapping  to  secure  them. 

Fig.  A will  explain  a simple  trussing  for  a centre;  it  is  always  expected 
that  the  abutments  for  the  arch,  are  sufficient  for  the  centre,  au4  that  a tie- 
beam  across  the  bottom  is  useless,  supposing  the  footing  a and  b are  secure, 
any  two  pieces  of  timber  as  a c,  and  c b connected  at  c like  rafters,  and  foot- 
ing at  a and  b,  will  bear  any  pressure  at  c,  both  acting  as  struts,  and  unless 
they  bend,  the  centre  will  not  vary  its  shape  at  the  point  c;  the  same  may 
be  said  of  a d and  d b and  also  of  a c and  e b. 

It  is  on  this  principle  the  centre  Fig.  B is  drawn,  a and  b being  the  abut- 
ments and  c d and  e corresponding  with  the  same  letters  in  fig.  A,  the  pieces 
fgh  and  i are  both  ties  and  stmts,  and  the  joining  of  k and  l into  h should 
be  made  like  the  footing  of  rafters,  as  ft  is  a tie  for  them  while  it  forms  a stmt 
in  a line  with  m and  n to  hear  the  pressure  on  the  centre  at  c.  In  this  frame 
the  scantling  is  all  short,  if  timber  could  be  procured  long  enough  to  reach 
the  length  of  the  three  pieces  m h and  n,  it  would  be  better  to  make  it  in  one- 
piece,  and  halve  all  the  joints,  the  posts  op  and  q might  then  be  in  two 
thicknesses,  and  notched  out  to  receive  the  frame  between  them,  r and  s are  , 
the  striking  wedges  by  which  the  centre  is  lowered  after  the  arch  is  turn  eel; 
t and  u the  blocking  by  which  it  is  supported. 

It  is  of  considerable  importance  in  making  centres  for  large  arches  that  the 
principle  of  equilibration  or  balancing  of  arches  should  be  understood  ; by 
this  is  meant  that  the  line  of  the  arch  should  he  of  such  a curve,  as  to  have 
no  tendency  in  any  part  either  to  rise  or  fall;  this  curve  is  found  by  taking 


• THE  YOUNG  CARPENTER’S  ASSISTANT. 


M 

a chain  of  equal  weight  throughout,  and  suspending  it  from  two  points 
placed  as  far  apart  as  the  arch  is  to  span,  and  allowed  to  sag  till  it  touches  a 
third  point,  placed  equidistant  from  the  others,  and  so  far  from  a right  line 
connecting  them  as  the  arch  is  to  rise;  the  chain  will  then  describe  the  true 
curve  of  an  arch,  which  supposing  the  materials  to  be  all  equal  in  weight, 
will  have  no  tendency  to  rise  or  fall  in  one  part  more  than  another ; this  is 
called  the  Catenarian  Curve , and  is  represented  by  fig.  C,  a and  b being 
the  points  of  suspension  of  the  chain  and  the  span  of  the  arch,  and  c d the 
rise  of  the  arch.  It  frequently  happens  that  the  arch  is  loaded  more  in  one 
part  than  another,  as  in  a bridge  filling  up  over  the  haunches  to  level  the 
road,  to  counterbalance  this  and  preserve  the  equilibration  of  the  arch,  draw 
a section  of  the  filling  up,  hut  w ith  the  drawing  turned  with  the  upper  edge 
downwards  as  d ef  fig.  C ; divide  along  this  any  number  of  equal  parts  as 
at  1,  2,  3,  ^c:  and  suspend  to  the  chain  ac  b pieces  of  chain  of  the  same 
make  from  the  points  ghik  fyc.  so  as  they  may  fall  over  the  divisions  12  3 
%c : these  chains  being  cut  so  as  to  just  reach  the  line  of  the  road  d ef  will 
represent  the  filling  in  over  the  haunches  and  will  make  the  chain  a c b the 
form  of  an  arch  that  will  he  equally  balanced. 

In  fig.  D,  I have  given  a curve  which  will  he  pretty  near  the  Catenarian, 
but  drawn  from  centres  with  compasses,  a is  the  centre  ef  the  small  part  at 
top,  and  b and  c the  centres  of  the  other  parts. 


t 


*9 


Sc-cole,  of  Fe&fr 


TICE  YOUNG  CARPENTER'S  ASSISTANT 


37 


PLATE 


Of  Stairs , 

Fig.  A is  tlie  plan  of  an  open  Newel  Stairs,  with  two  quarter-paces  ; and 
B is  an  elevation  of  the  same,  C being  that  part  which  is  between  the  two 
quarter-paces. 

To  draw  the  Ramp  of  the  Rail • 

When  a section  of  the  steps  is  drawn,  place  the  newel  posts  in  their  places, 
making  them  fair  with  the  front  edge  of  the  steps,  and  draw  the  hand-rail, 
making  it  2 feet  from  the  top  of  the  steps  to  the  top  of  the  rail;  lay  off  the 
banisters,  and  let  the  mitre  or  key  of  the  rail  come  on  the  first  banister  ; 
this  gives  the  height  of  the  first  newel  post;  make  the  other  posts  all  the 
same  height,  continue  the  line  of  the  bottom  of  the  rail  up  till  it  strikes  the 
edge  of  the  newel  post  at  a,  fig.  B,  place  one  foot  of  the  compasses  on  a as  a 
centre,  and  extend  the  other  to  h at  the  top  of  the  rail  on  the  post  and  draw 
the  arc  he;  then  draw  c d square  with  the  top  of  the  rail  till  it  meets  the 
level  of  the  rail  on  the  post  continued  as  b d,  then  will  d be  the  centre  for 
sweeping  the  ramp. 


K 


as 


THE  YOUNG  CARPENTER’S  ASSISTANT.. 


PLATE  31. 


A is  the  plan,  and  B the  section  or  elevation  of  a circular  or  geometrical 
stairs ; in  drawing  the  plan  I have  made  the  circular  steps  to  come  beyond 
the  centre  of  the  circular  part  the  width  of  one  square  step,  by  that  means 
the  ends  of  the  circular  steps  are  made  wider  and  the  difference  in  the  rake 
of  the  hand-rail  between  the  square  and  circular  steps  is  not  so  great  as  it 
otherwise  would  be. 

Fig.  C shews  the  manner  of  drawing  a bracket  for  the  ends  of  the  circular 
steps  which  shall  correspond  with  one  made  for  a square  step ; C is  the 
square-step  bracket;  draw  any  number  of  parallel  lines  across  this  as  1 2 
and  those  parallel  to  it,  then  from  the  point  e draw  c d at  any  angle  and 
equal  in  length  to  the  circular  bracket,  draw  ordinates  from  the  lines  in  C 
as  2 3 and  those  parallel  to  it,  touching  the  line  cd;  continue  those  lines 
at  right  angles  with  c d as  3,  4,  and  those  parallel  to  it;  take  the  distance  of 
the  ordinates  from  the  line  e c to  the  edges  of  the  bracket  C and  mark  them 
on  the  corresponding  line  in  the  short  bracket  from  the  line  d c and  through 
those  points  trace  the  form  of  the  circular  bracket. 


PUte  C/ 


jPltt/C'31 

f 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


89 


PLATE  32, 

To  draw  the  Scroll  for  a Hand-rail* 

Make  a circle  three  inches  and  an  half  diameter,  as  ah  cd  fig.  A;  within 
this  make  a square  equal  to  one  third  the  diameter  of  the  circle,  as  efg 
divide  this  into  36  small  squares  as  is  represented  in  fig.  B on  its  full  size, 
and  laid  in  the  same  position  as  in  A,  and  with  the  centres  numbered  by 
which  the  scroll  is  drawn;  place  one  foot  of  the  compasses  on  1 in  the  square, 
and  extend  them  to  c and  draw  round  to  1 on  the  edge  of  the  rail,  then  set 
the  compasses  in  2 in  the  square  and  extending  them  to  1 draw  round  to  2 
on  the  edge,  and  so  on  till  the  whole  is  drawn  round  to  6 ; to  draw  the  out* 
side  of  the  rail,  set  in  its  thickness  from  6 to  12,  and  go  back  by  the  same 
numbers  and  the  scroll  will  be  complete. 

To  draw  the  curtail  step . 

At  i k in  fig.  A place  the  thickness  of  a banister,  and  set  out  to  l the  pro- 
jection of  the  nosing,  with  the  same  centres  used  for  drawing  the  scroll, 
draw  this  round  till  it  meets  the  nosing  at  the  end  of  the  step  drawn  with  the 
same  projection;  the  thickness  of  the  banisters  being  setoff  maybe  drawn 
round  in  the  scroll  and  they  maybe  spaced  off,  making  them  the  same  dis- 
tance apart  that  the  other  banisters  are. 

To  draw  the  Face  Mould . 

Draw  the  pitch  board  ikl  fig.  A,  making  the  base  k I cut  the  scroll  as  near 
its  centre  or  widest  part  as  possible;  draw  ordinates  or  parallel  lines  as  mn3 
op,  qr , Sjc.  across  the  scroll;  draw  the  line  i l in  fig.  C,  and  make  the  spaces 
Iw  €cy  t§ c.  in  fig.  C agree  with  the  spaces  l w oc  y fijc.  on  the  line  l i in  fig. 
A ; draw  lines  through  those  points  in  fig.  C at  right  angles  with  i l as  m nop , 
£jc.  take  the  distances  from  the  line  k l to  the  edge  of  the  scroll  at  A,  and 
transfer  them  to  C,  as  mu,  op  fijc.  taking  to  the  edge  of  the  rail  both  inside 
and  outside  ; through  these  points  the  face  mould  C may  be  traced  with  a 


■'40 


THE  YOUNG  CARPENTER’S  ASSISTANT?. 


steady  hand;  continue  the  line  of  the  pitch  board  in  A up  till  it  strikes  the 
riser  of  the  second  step,  as  from  8 to  7 and  set  that  space  off  at  C from  8 to 
7,  at  which  place  square  oyer  a strong  mark,  the  use  of  which  will  be  ex- 
plained hereafter. 

To  draw  the  Falling  Mould . 

Draw  the  pitch  board  at  D,  take  off  one  sixth  from  the  bottom  and  draw 
the  line  116  s take  the  distance  from  1 1 to  6 in  A,  and  set  it  from  11  to  6 
in  B,  make  the  distance  from  6 to  s in  B equal' to  the  distances  round  the 
rail  from  6 to  s in  A (being  any  distance  beyond  the  first  quarter,)  by  tracing 
round  with  a small  space  in  the  compasses;  divide  the  rake  of  the  rail  on 
the  pitch  board  and  the  level  of  it  out  to  § into  any  equal  number  of  parts 
and  by  drawing  intersecting  lines  the  top  of  the  rail  is  given. 

The  falling  mould  for  the  outside  is  drawn  in  the  same  manner,  except- 
ing the  distance  from  12  to  9 is  taken  from  the  outside  of  the  rail  from  12  to 
9,  % A. 

In  applying  these  to  use,  the  mark  at  7 on  C should  he  made  to  corres- 
pond with  the  edge  a h of  the  pitch  hoard  in  the  falling  moulds  B and  E. 


$U'-' 


THE  YOUNG-  CARPENTER’S  ASSISTANT, 


It 


PLATE  33. 


in  this  Plate  is  given  two  more  examples  of  scrolls  of  different  sizes,  B and 
D contains  the  centres  for  drawing,  both  figured.  It  may  be  well  here  to 
observe,  that  in  drawing  the  scroll,  a line  should  be  drawn  from  the  centre 
about  to  be  used  through  the  one  used  last,  out  to  the  edge  of  the  scroll;  this 
shews  where  to  commence  the  sweep  for  that  quarter  ; the  dotted  lines  in  A 
and  C will  make  this  clearer. 


h 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


m 


PLATE  34. 


To  draw  the  Moulds  for  an  Elliptical  Stairs , 

The  plan  of  the  rail  being  drawn,  and  the  ends  of  the  steps  being  all  of 
equal  width  on  the  rail,  it  should  be  divided  round  into  as  many  equal  parts 
as  there  are  steps,  then  take  the  tread  of  any  number  of  steps,  suppose  8,  and 
let  hh  fig.  H be  the  tread  of  8 steps,  on  the  perpendicular  hm  set  up  the 
height  of  8 risers,  and  draw  the  line  m h which  will  be  the  under  edge  of 
the  falling  mould;  the  Student  will  observe,  that  this  falling  mould  will  be  a 
straight  line  excepting  a little  turn  at  the  landing;  next  mark  the  plan  of  the 
rail  into  as  many  parts  as  there  are  to  be  pieces  in  the  rail  (in  this  there  are 
three,)  then  draw  a chord  line  to  the  joints,  as  at  E C and  G;  also  draw  lines 
parallel  to  the  chords  to  touch  the  convex  sides  of  the  rail  as  h ft,  from  eve- 
ry joint  draw  perpendiculars  to  their  respective  chords ; now  the  tread  of  the 
middle  piece  at  C being  just  8 steps,  and  the  section  II  being  for  the  same 
number,  set  up  hmn  in  B equal  to  limn  in  H,  and  make  ih  in  B equal  in 
height  to  i h in  H;  then  draw  ni  and  draw  the  ordinates  1 12ft,  13  c,  6jc. 

continued  till  they  touch  the  line  ni;  prick  off  the  ordinates  on  the  face 
mould  from  the  plan  C agreeable  to  the  figuring,  and  trace  the  mould  through 
those  points,  and  it  will  be  complete. 

The  moulds  for  33,  and  F,  being  only  for  6 steps  each,  the  tread  of  6 steps 
should  be  set  off  from  ft  to  II  in  fig.  H,  and  the  height  H k l set  up  from  the 
chord  lines  at  33  and  F;  as  for  the  rest  it  is  the  same  as  B. 


/'4/a-  3 1 


T/a/e  3J 


w 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


48 


PLATE  35* 


To  draw  the  Moulds  for  glueing  Hand-rails  and  Veneers * 

Draw  a plan  of  the  rail,  as  A,  on  which  mark  the  steps : the  twisted  part 
of  the  rail  which  is  to  be  veneered,  should  reach  over  one  of  the  square 
steps,  both  at  top  and  bottom ; make  a h in  fig.  B equal  to  stretch  out  of  the 
outside  or  greatest  circle  in  fig.  A and  a c equal  to  the  height  of  the  risers^ 
again  d e is  the  compass  of  the  lesser  circle,  set  in  the  middle  between  a and 
1) ; and  df  is  the  height  of  the  steps  the  same  as  before,  therefore  the  triangle 
ah  c is  the  pitch  board  for  the  inside  falling  mould,  and  bmo  at  bottom  and 
ihc  at  top  are  the  pitch  boards  of  two  common  steps ; which  lines  when  in- 
tersected will  give  the  under  line  of  the  inside  falling  mould.  In  the  same 
manner  dfe^  with  the  two  common  steps  kgf  at  the  top  and  elm  at  the 
bottom  will  give  the  under  line  of  the  outside  falling  mould;  the  top  lines 
are  only  drawn  parallel  to  the  under  side  to  the  thickness  of  the  rail. 

In  applying  them  to  practice,  draw  a line  t p to  touch  the  mould  in  two 
places ; this  will  represent  the  edge  of  the  Plank,  next  square  over  several 
lines,  as  p q where  the  moulds  intersect,  and  at  t s ?a,  square  over  on  the 
plank  lines  corresponding  with  these,  and  mark  oil*  from  the  edge  of  the  plank 
the  distances  pq  and  ts  on  one  side,  and  tr  on  the  other,  make  the  moulds 
agree  with  these  points,  each  one  on  its  proper  side,  and  mark  off  the  rail  i 
the  plank  being  of  a sufficient  thickness  to  allow  for  the  saw  curfs,  wilt, 
when  cut  out,  and  twisted,  become  square,  and  of  the  proper  sise* 


44 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


PLATE  36. 


Drawing  Plans  and  Elevations. 

In  this  Plate  is  given  a Plan  and  Elevation  of  a small  house;  the  Student 
in  drawing  a Plan,  will  suppose  the  building  to  be  raised  just  above  the  prin- 
cipal floor,  and  the  wall  made  level  all  round;  and  draw  his  plan  to  resem- 
ble it  as  near  as  possible ; placing  the  partitions,  doors,  and  windows  in  their 
proper  places  ; the  stairs  should  be  drawn  for  the  whole  story  to  shew  where 
the  landing  for  the  next  story  will  be ; in  drawing  the  ground  plan  it  will  con- 
siderably enliven  the  drawing  to  give  the  appearance  of  a shadow  on  one  side 
of  the  wall,  by  drawing  one  line  thicker  than  the  other;  to  do  this  he  will 
suppose  the  light  to  come  from  the  left  hand  upper  corner  of  the  drawing, 
and  make  the  lines  on  the  right  hand  and  lower  side  of  the  walls  and  parti- 
tions thick,  and  the  other  sides  thin  lines:  this  will  be  better  understood  by 
closely  inspecting  the  plans  that  follow. 


Plate.  \\\/ // 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


4 5 


PLATE  37 

Is  a Design  for  a large  building;  the  dotted  lines,  AB,  CD  and  EF  shew 
the  place  on  the  ground  plan,  through  which  the  sections  in  the  three  foL 
lowing  plates  are  drawn,  the  letters  on  the  sections  corresponding  with  the 
letters  on  the  plans. 

The  plan  in  this  Plate  is  for  the  principal  story  or  first  floor,  and  may  be 
disposed  of  as  follows,  viz. 

a Portico. 

b Hall.  This  is  an  octagon  with  the  ceiling  vaulted,  and  includes  in  its 
height  the  mezanine,  or  small  story  between  the  two  principal  ones.  See  sec- 
tion of  Plate  38. 

c Vestibule.  This  is  lighted  from  a sky-light,  and  at  the  second  story 
has  a gallery  which  gives  a communication  with  the  different  rooms.  See  sec- 
tion of  Plate  38. 

d Stairs. 

e Saloon.  This  room  includes  in  its  height  the  mezanine,  and  has  a mu- 
sic gallery.  See  section  of  Plate  40. 

f Dining  room,  with  a recess  for  a side-board. 

g Library. 

h Breakfast  parlour. 

i Back  stairs. 


M 


40 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


PLATE  38 

Contains  a section  of  the  same  building  as  the  foregoing,  with  the  plan  for 
the  Cellar  or  basement  story. 

In  drawing  a section,  the  Student  will  pay  strict  attention  that  it  agrees 
in  all  its  parts  with  the  plans  for  the  different  stories,  and  that  the  section 
represents  the  building  as  it  were  cut  through  from  top  to  bottom,  on  the 
line  of  the  plan,  from  which  it  is  taken;  a little  liberty  indeed  may  be  taken 
with  stairs,  as  when  the  section  cuts  through  them,  to  represent  half  of  them 
would  not  be  as  clear  as  if  all  was  shewn. 

The  plan  in  this  Plate  may  be  disposed  of  as  follows,  viz. 

a Maid  servants’  room.  The  small  stairs  gives  a communication  with  the 
mezanine,  and  chamber  over  the  library. 

b Housekeeper’s  room. 

c Servants’  hall. 

d Back  stairs. 

e Kitchen. 

f Men  servants’  room. 

g h and  i Beer  and  Wine  cellars,  £i$c. 


Pirate,  xxt/ iu 


J* 


Plate  \\\/x 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


47 


PLATE  39* 


The  same  building  continued.  The  plan  is  for  the  Mezanine  or  small 
story  between  the  two  principal  stories ; of  this  a b c and  A are  the  upper 
parts  of  the  Saloon,  Stairs,  Vestibule  and  Hall$  the  others  are  small  rooms 
for  servants,  £$c. 

Mezanine  stories,  or  as  they  are  sometimes  called  mezetti,  are  of  use  in  a 
large  building,  where  some  of  the  rooms  are  so  large  as  to  require  more 
height  than  common  rooms,  to  be  well  proportioned ; the  mezanine  being 
thrown  into  the  height  of  the  large  rooms.  And  they  also  afford  convenient 
chambers  for  servants,  more  particularly  those  whose  business  it  is  to  attend 
on  the  master  and  mistress,  by  affording  a room  immediately  under  the  cham- 
bers occupied  by  them,  with  a private  stairs  for  communication:  were  it  not 
for  this,  in  very  large  buildings,  the  servants  would  frequently  be  unavoidably 
lodged  at  a considerable  distance  from  the  heads  of  the  family. 


48 


THE  YOUNGr  CARPENTER’S  ASSISTANT, 


PLATE  40. 


The  same  continued.  The  plan  is  for  the  second  story,  in  which 

a is  the  Vestibule,  with  a gallery  of  communication  from  the  stairs  to  the 
different  rooms. 

b and  c two  Chambers,  with  each  an  antichamber  or  dressing'  room ; the 
rest  are  private  chambers,  except  d and  e which  are  stairs. 

In  these  plans  it  has  been  more  my  object  to  throw  as  great  a variety  into 
a small  compass  as  was  readily  practicable,  than  to  give  eligible  plans  for 
the  builder,  thereby  aiming  at  instruction  for  the  Student,  which  indeed  has 
been  my  object  throughout  this  work. 


PLAVJL 


XL. 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


W 


THE  following  Plates  I have  been  induced  to  give,  as  containing  four 
different  varieties  in  Architecture ; of  these  it  is  difficult  to  say  which  is  the 
most  perfect. 

PLATE  41 

Contains  a draft  of  the  Frame  of  the  bridge  lately  erected,  by  a Company 
incorporated  for  that  purpose,  over  the  Schuylkill,  at  the  West  end  of  High 
or  Market  Street;  with  a section  of  the  Bed  of  that  River. 

The  westernmost  pier  of  this  Bridge  is  sunk  in  a depth  of  water,  unexam- 
pled in  Hydraulic-Architecture,  in  any  part  of  the  world ; the  top  of  the  rock 
on  which  it  stands  being  41  feet  9 inches  below  common  high  tides..  Both  . 
piers  were  built  within  Coffer-dams.  The  dam  for  the  Western  pier  was  of 
original  and  peculiar  construction;  the  design  furnished  by  William  Wes- 
ton, Esq.  of  Gainsborough  in  England,  a celebrated  Hydraulic  engineer. 
An  idea  of  its  magnitude  may  be  formed  when  it  is  known  that  800,000  feet 
of  timber  (board  measure)  were  unavoidably  employed  in  and  about  it 
It  was  executed,  under  the  orders  of  the  Building  Committee  of  the  Board, 
consisting  of  the  President  and  four,  and  sometimes  five  Directors  (to  whom 
the  master  workmen  express  great  obligations)  by  Samuel  Robinson  of  this 
city.  Every  disadvantage  to  which  such  difficult  undertakings  are  subject 
(the  rock  being,  in  sundry  parts,  nearly  bare,  and  affording  no  footing  for 
the  piles)  opposed  the  progress  of  this.  So  that  it  could  not  be  ready  for  the 
commencement  of  the  masonry,  until  the  25th  of  December,  when  the  first 
stone  was  laid;  and  the  work  continued  in  a severe  Winter,  to  the  height 
then  proposed. 

The  stone  work  was  done  by  Thomas  Yickers,  under  the  orders,  and  with 
the  advice  and  constant  attention  of  the  same  Committee ; assisted,  on  emer- 
gencies, by  all  the  members  of  the  Board,  and  the  Treasurer,  who  was 
eminently  useful  on  every  occasion.  The  masonry  is  executed  on  a plan 


N 


m 


THE  YOUNG  CARPENTER’S  ASSISTANT, 

suggested  to  the  mason,  uncommon,  if  not  new.  The  walls  of  the  Abut- 
ments and  Wings  are  perpendicular , without  buttresses;  and  supported  bv 
interior  offsets.  These  are  found  completely  competent  to  support  the  pres- 
sure of  the  filling,  without  battering  or  e outre  for  is.  The  Abutments  are 
18  feet  thick.  The  Wing  wall s 9 feet  at  the  foundations;  retiring  by  off- 
sets, ’till  at  the  parapets  they  are  only  18  inches.  The  eastern  abutment 
and  wing  walls  are  founded  on  a rock.  Those  on  the  Western  side,  are  built 
on  piles.  There  are  upwards  of  7,500  tons  of  masonry  in  the  Western  pier. 
Many  of  the  stones,  composing  both  piers,  weigh  from  3 to  12  tons.  A num- 
ber of  massive  chains  are  stretched,  in  various  positions,  across  the  piers. 
These  are  worked  in  with  the  masonry;  the  exterior  whereof  is  clamped, 
and  finished  in  the  most  substantial  and  workmanlike  manner. 

The  Frame  of  the  superstructure  was  designed  and  erected  by  Timothy 
Palmer  of  Newbury-port  in  Massachusetts.  It  is  a masterly  piece  of  work- 
manship; combining  in  its  principles,  that  of  King  posts  and  Braces,  with 
that  of  a Stone  arch.  Half  of  each  post,  with  the  brace  between  them,  will 
form  the  vousseur  of  an  arch;  and  lines  through  the  middle  of  each  post 
would  describe  the  radii,  or  joints.  The  letters  ah  c £jc.  in  the  draught,  re- 
fer to  the  same  letters  below;  where  the  manner  of  connecting  the  timbers 
together,  is  shewn  on  a larger  scale.  The  position  of  the  letters  are  the  same 
with  respect  to  eacli  piece,  in  both  places.  Two  of  these,  a and  are  dou- 
ble, or  in  two  thicknesses.  There  are  3 sections  of  the  Frame,  similar  to  the 
one  represented.  That  in  the  middle  divides  the  space  into  two  equal  parts. 
So  that  those  passing,  in  opposite  directions,  are  prevented  from  interfering 
with  each  other.  The  Platform  for  travelling  rises  only  8 feet  from  a hori- 
zontal line ; and  the  Top,  or  Cap  pieces,  are  parallel  to  this.  Of  the  sec- 
tions the  middle  one  has  the  most  pressure;  owing  to  the  weight  of  transpor- 
tation being  thrown  nearer  to  that  section  than  towards  the  sides;  to  which 
the  foot-ways  prevent  its  approach.  These  foot-ways  are  5 feet  in  width; 
elevated  above  the  carriage-ways,  and  neatly  protected  by  posts  and  chains. 
T.  Palmer  is  the  original  inventor  of  this  kind  of  Wooden  bridge- Architec- 
ture. He  permitted  with  much  candour,  considerable  alterations  in  the  plan, 
on  which  he  had  erected  several  bridges  in  New-En  gland.  These  were  ac- 
commodatory  to  the  intended  Cover,  and  were  so  much  approved  by  him. 


THE  YOUNG-  CARPENTER’S  ASSISTANT. 


SI 

that  lie  considers  tlie  Schuylkill  Bridge  superstructure  the  most  perfect  of 
any  he  has  built. 

After  the  erection  of  the  Frame,  the  Editor  was  employed  by  the  Presi- 
dent and  Directors  to  perform  the  workmanship  of  the  covering,  agreeably 
to  a design  furnished  by  them  to  him : this  design  of  the  Cover  being  orb 
ginal,  it  is  more  surprising  that  it  has  not  many  faults,  than  that  few,  if  any, 
can  be  found.  Especially  as  an  accommodation  to  the  Frame,  created  una- 
voidable difficulties.  The  Editor  was  permitted  to  make  some  additions, 
with  the  approbation  of  the  Building  Committee.  He  feels  himself  grateful 
for  the  assistance  he  has  had;  and  in  participating  with  those  who  preceded 
him,  in  the  approbation  of  the  work,  by  the  Board  and  their  Committee.  At 
their  suggestion,  the  under  work  of  the  side  covering  is  done  in  imitation  of 
masonry,  by  sprinkling  the  work  with  stone  dust  on  the  painting  while  fresh. 
The  smalting  or  spinkling  was  performed  with  so  much  ease  and  cheapness, 
that  it  is  hoped  it  will  introduce  a like  mode  of  ornamenting  and  protecting 
the  surface  of  wooden  elevations,  of  other  descriptions,  where  protection  and 
ornament  are  required. 

Commodious  Wharves,  on  each  side  of  the  river,  have  been  made  by  the 
Company ; not  anly  to  protect  the  foundations  of  the  abutments  and  wings, 
but  with  a view  to  profit.  They  co-operate  with  the  other  improvements, 
to  give  a new  and  interesting  front  to  our  city. 

It  is  a peculiar  and  interesting  fact  that  (except  the  valuable  assistance 
rendered  in  its  commencement  by  W,  Weston,  who  was  then  about  returning 
to  England)  no  scientific  engineer  has  been  employed,  in  any  part  of  this 
great  undertaking.  Neither  the  Board,  or  their  committee  who  have  been 
constantly  and  actively  engaged  in  all  stages  of  the  work,  profess  a scientific 
knowledge  of  Hydraulic  Architecture ; tho3  they  have  now  gained  much 
practical  experience.  Yet  difficulties  have  been  encountered  and  overcome 
which  would  have  called  forth  the  talents,  and  practical  knowledge,  of  the 
ablest  engineer.  The  mechanics  and  workmen  (T.  Palmer  and  his  assis- 
tants excepted)  had,  from  the  beginning  of  the  undertaking,  new  and  un- 
known branches  of  their  business  to  learn.  Even  T.  Palmer  is  self  taught 
in  the  .art  of  wooden-bridge  building;  tho’  he  has  carried  it  to  such  high  per- 


THE  YOUNG-  CARPENTER'S  ASSISTANT. 


5% 

fection.  It  Is  however  believed  that  this  bridge,  in  all  its  parts,  both  of  ma- 
sonry and  wood  work,  will  not  suffer  by  a comparison  with  one  so  composed, 
in  any  part  of  the  world.  Its  workmanship  and  materials  will  stand  the  test 
of  the  most  rigid  scrutiny.  Both  the  plan  and  its  execution,  reflect  credit 
upon  those  concerned  in  the  enterprize.  So  far  as  I have  information,  this 
is  now  the  only  covered  wooden  Bridge,  in  any  Country,  except,  perhaps, 
one  over  the  Limmat,  built  by  the  same  Swiss  carpenter  who  erected  that 
of  Schauffhausen,  since  destroyed.  I have  frequently  seen  and  carefully  in- 
spected the  draughts  of  this  much  celebrated  Bridge,  and  I am  confident 
that  any  intelligent  and  candid  Architect,  on  examining  the  principles  of 
both,  would  give  a decided  preference  to  the  Schuylkill  Bridge.  The  de- 
sign is  more  simple,  its  strength  is  greater,  its  parts  are  better  combined 
and  more  assistant  to  each  other,  and  there  is  no  useless  timber,  or  unne- 
cessary complexity  in  any  part. 

What  I have  just  observed,  as  to  those  engaged  in  the  direction  or  exe- 
cution of  the  work  of  the  Schuylkill  Bridge,  is  not  intended  as  adulatory, 
or  disparaging  to  any  persons.  But  I have  an  ardent  hope  that  others,  in 
similar  undertakings,  will  be  animated  by  their  successful  example  ; when 
labouring  under  the  same,  or  greater  disadvantages,  arising  from  the  want 
of  experienced  and  scientific  professors  of  Architecture ; although  w here 
these  can  be  had,  for  great  undertakings,  they  ought  undoubtedly,  to  be  em- 
ployed. 

As  a well-wisher  to  all  public  improvements,  as  a mechanic  and  one  em- 
ployed to  close  this  eminently  useful  erection,  I think  it  my  tluty  to  mention, 
and  feel  a sensible  satisfaction  in  adding  to  the  foregoing  account' 

That  I have  experienced  the  important  advantages  of  ready  and  beneficial 
advice,  clear,  promp  and  explicit  orders,  and  timely  and  ample  supplies. 
Not  a moment  has  been  lost  by  delay  and  hesitation  in  directions,  want  of 
provision  of  materials,  or  deficiency  in  punctuality  of  payment.  This  has 
been  constantly  the  case,  thro’  the  whole  progress  of  the  business,  as  the 
workmen  preceding  me  in  its  more  difficult  stages,  have  testified.  Tho’ 
heavy  expenditures  have  been  inevitably  required,  the  greatest  attention  to 
economy  has  been  practised. 


THE  YOUNG  CARPENTER’S  ASSISTANT, 


m 


No  interested  or  personal  motives  induce  me  to  mention  these  circum- 
stances. They  are  exemplary ; and  essential  to  ensure  the  completion  of 
any  extensive  enterprize.  To  them,  I am  persuaded  is  to  he  chiefly  attri- 
buted, the  success  of  this  arduous  work.  From  inattention,  or  incapacity 
in  these  indispensible  requisites,  many  public  as  well  as  private  undertakings 
in  all  countries  have  failed : and  communities,  and  the  individuals  employed 
in  them,  have  been  involved  in  disappointment  and  distress;  if  not  in  irre- 
trievable ruin. 


The  Bridge  has  been  6 years  in  building,  and  cost  about  275,000  dolls, 
including  the  cash  moiety  of  the  purchase  of  the  site ; for  which  40,000  dolls, 
were  paid  to  the  City  Corporation,  half  in  cash  and  half  in  Bridge  shares. 


Length  of  the  bridge 
Abutments  and  wing  walls 
Total  length 

Span  of  small  arches  each 
Ditto  of  middle  arch 
Width  of  the  bridge 
Curvature  of  the  middle  arch 
Ditto  of  small  arches 

Curvature  or  rise  of  the  carriage  way  or  road 

Height  in  the  clear  over  carriage  way 

Ditto  from  the  surface  of  the  river  to  the  carriage  way 

Thickness  of  the  pier 

Length  of  ditto. 

Depth  of  water  to  the  rock  at  the  western  pier 
Ditto  at  the  eastern  pier 

Amount  of  toll  when  the  work  began  for  the  year 
1799,  arising  from  the  floating  bridge 
Present  amount  of  toll  on  an  average  (1805)  the 
rates  of  toll  in  several  instances  being  lower 
than  over  the  old  floating  bridge 


ft.  in. 

55;)  00 
750  00 
1300  00 
150  00 
194  10 
42  00 
12  00 
10  00 
8 00 
13  00 
31  00 
20  00 
62  00 
41  9 

21  00 

5,000 


13,600 


Dolh 


O 


04 


THE  YOUNG  CARPENTER'S  ASSISTANT. 


PLATE  42. 


The  Bank  of  Pennsylvania . 


This  beautiful  building  is  entirely  of  Marble  and  is  a neat  specimen  of  the 
Ionic  Order,  taken  from  an  ancient  Greek  Temple ; - the  design  was  given 
by,  and  the  building  erected  under  the  superintendence  of  Benjamin  H. 
Latrobe.  The  front  extends  51  ft.  in  width,  and  the  whole  building,  in» 
eluding  the  Porticos  front  and  back,  is  125  ft.  in  depth.  This  building  was 
three  years  in  hand,  and  was  finished  in  the  year  1799. 


Plate  xlu 


s“1$$o 


P/^r/'/i  xi,/// 


THE  YOUNG  CARPENTER’S  ASSISTANT. 


$5 


PLATE  43, 


Bank  of  the  United  States, 


This  superb  Building  is  an  elegant  specimen  of  the  Corinthian  Order ; 
the  proportions  taken  from  a Roman  Temple  called  the  Maison  Quarree, 
at  Nisrnes,  in  the  south  of  France.  The  front  extends  94  ft  by  72  deep  ex- 
clusive of  the  Portico.  The  design  was  given  by  Samuel  Blodget  of  this 
city,  and  was  built  about  the  year  1795* 


m 


THE  YOUNG  CARPENTER'S  ASSISTANT, 


PLATE  44 


Contains  an  elevation  of  the  Steeple  of  Christ  Church  in  Second  Street, 
which  for  the  justness  of  its  proportions,  simplicity  and  symmetry  of  its  parts 
is  allowed  by  good  judges  to  be  equal  if  not  superior  in  beauty  to  any  Steeple 
of  the  spire  kind,  either  in  Europe  or  America.  It  was  erected  in  the  year 
1755  by  Robert  Smith,  who  some  time  after  took  out  the  sills  of  the  wooden 
part  which  had  begun  to  decay,  and  replaced  them  by  others. 

The  superstructure  of  this  steeple  is  composed  of  three  distinct  well-pro- 
portioned parts  of  Architecture,  the  first  story,  with  its  small  Pediments  and 
Attics,  forming  one ; the  octagonal  part,  with  its  ogee  formed  dome,  being 
the  second ; and  the  spire  and  its  pedestal,  the  third.  These  three  parts 
are  very  dissimilar,  no  one  having  any  thing  in  it  that  is  common  to  the 
others ; and  yet  they  agree  very  well  with  each  other,  forming  one  complete 
and  consistent  whole. 


;S. 


A 

DICTIONARY  OF  TERMS 

USED  IN 

ARCHITECTURE. 


ABA — ANN 
A. 

ABACUS,  the  upper  member  of  a column, 
which  serves  as  a covering  to  the  capital ; to 
the  Tuscan,  Doric  and  Ionic,  it  is  square ; to 
the  modern  Ionic  and  Corinthian,  each  side  is 
arched,  or  cut  inwards,  and  is  decorated  in 
the  centre  with  a flower  or  other  ornament. 

Acanthus,  a plant,  whose  leaves  form  an  or- 
nament in  the  Corinthian  capital,  and  are 
said  to  have  originally  given  rise  to  that  or- 
der. 

Acroteria,  a kind  of  base,  placed  on  the  an- 
gles of  pediments,  usually  for  the  support  of 
statues,  £cc. 

Al^e,  Ailes,  also  passages  in  theatres,  houses, 
&c.  also  in  rooms,  &c.  the  space  between  the 
walls  and  the  columns. 

Amphitheatre,  a place  for  exhibiting  shows, 
very  spacious,  of  a round  or  oval  figure,  with 
many  seats  rising  on  every  side.  The  area  in 
the  middle  was  called  Arena , because  it  was 
covered  with  sand,  or  saw-dust,  to  prevent 
slipping,  and  to  absorb  blood. 

Annulet,  a small  square  moulding,  which 
serves  to  crown  or  accompany  a larger,  and 
to  separate  the  flutings  in  columns. 


ANT— BAS 

Ant^e,  a species  of  pilasters  on  the  extremity 
of  a wall,  usually  having  no  diminution,  nor 
do  the  mouldings  of  their  capitals  or  bases 
always  resemble  those  of  the  columns. 

Aqueduct,  an  artificial  canal,  built  for  the  con- 
veyance of  water  from  one  place  to  another, 
either  running  under  ground,  or  rising  above 
it. 

Arch,  part  of  a circle  or  ellipsis. 

Architrave,  the  lowest  principal  member  of 
an  entablature,  lying  immediately  upon  the 
abacus  of  the  capital. 

Astragal,  a small  round  moulding  with  two 
annulets. 

Attic  Base,  Ionic  base. 

B, 

Baluster,  small  columns,  or  pillars  of  wood, 
stone,  8cc.  used  on  terraces  or  tops  of  build-- 
ings  for  ornament,  and  to  support  railing, 
and,  when  continued,  form  a balustrade. 

Banister,  the  supports  of  an  hand-rail  of  stairs. 

Band,  a general  term  for  a low,  fiat,  or  square 
member. 

Base,  the  lower  and  projecting  part  of  a column 
and  pedestal. 


p 


58 


BUT— CAU 

Butment,  or  Abutment , supporters,  or  props, 
on  or  against  which  the  feet  of  arches  rest. 

Buttress,  a kind  of  butment,  built  sometimes 
arch-wise,  as  to  Gothic  buildings;  a mass  of 
stone  or  brick  work,  serving  to  prop  or  sup- 
port buildings,  wails,  See.  on  the  outside, 
where  their  great  height  or  weight  require 
additional  strength. 

C. 

Capital,  the  uppermost  member  of  a column, 
which  is  a crown  or  head  thereto,  placed  im- 
mediately over  the  shaft,  and  under  the  ar- 
chitrave; no  column  is  complete  without  a 
capital,  which  has  a distinguishing  character 
for  each  order.- — Tuscan  and  Doric  capitals 
consist  of  mouldings ; Ionic  and  Corinthian 
capitals,  of  leaves  and  other  ornaments. 

Cartouche,  an  ornament  in  sculpture  repre- 
senting a scroll  of  paper,  Sec. 

Caryatides,  a kind  of  order  in  Architecture, 
in  which  a female  figure  is  applied  instead  of 
a pillar;  the  origin  of  which  is  thus  handed 
down  by  Vitruvius:  the  inhabitants  of  Caria, 
a city  of  Peloponnesus,  made  a league  with 
the  Persians  against  their  own  nation ; but 
the  Persians  being  worsted,  they  were  after- 
wards besieged  by  the  victorious  party,  their 
city  taken  and  reduced  to  ashes,  the  men  put 
to  the  sword,  and  the  women  carried  away 
captives.  To  perpetuate  the  memory  of  this 
victory,  the  conquerors  caused  public  edi- 
fices to  be  erected,  in  which,  as  a mark  of 
degradation  and  servility,  the  figures  of  the 
• captives  were  used  instead  of  columns,  thus* 
handing  down  to  posterity  their  servility  and 
punishment.  When  figures  of  the  male  sex 
are  used,  they  are  called  Persians  or  Perses. 

Cavetto,  a concave  moulding  of  one  quarter 
of  a circle. 

■ Caulicoli,  the  little  twists  ©I*  volutes  under 


CEL— COR 

the  flower  on  the  abacus  in  the  Corinthian  ca- 
pital, represent  the  twisted  tops  of  the  acan- 
thus stalks ; are  called  also  Helices. 

Cell,  in  an  ancient  temple,  is  the  inclosed  space 
within  the  walls. 

Centre  or  Center , the  support  of  an  arch  while 
the  masons  are  building  it. 

Cincture,  a ring,  list,  or  fillet,  at  the  top  and 
bottom  of  the  shaft  of  the  column. 

Circus,  a large  building  for  exhibiting  eques 
trian  exercises  in. 

Coffer-dam,  a large  frame  constructed  for  the 
purpose  of  erecting  works  on  the  bottom  of 
deep  waters ; the  Coffer-dam  being  water- 
tight and  surrounding  the  place  intended  to 
work  on,  is  emptied  of  the  water  and  leaves 
the  bottom  bare. 

Collar-beam,  timbers  placed  across  a roof 
from  the  middle  of  one  rafter  to  another. 

Cqllarin,  or  Collarino , the  neck  or  frize  of 
a Tuscan  or  Doric  capital. 

Colonnade,  a series  or  continuation  of  co- 
lumns. 

Column,  a round  pillar  used  in  Architecture, 
to  adorn  or  support.  Columns  are  of  four 
kinds;  the  Tuscan , Doric , Ionic , and  Corin- 
thian, each  of  which  has  its  particular  pro- 
portion. The  term  includes  the  base  and  the 
capital. 

Conge',  a small  moulding  which  serves  to  se- 
parate larger  ones,  called  also  List  or  Annu- 
let. 

Console,  an  ornament  cut  on  the  key-stone  of 
arches,  with  a projection,  capable  of  support- 
ing busts,  vases,  &c. 

Contour,  the  outiine  of  a figure,  or  piece  of 
Architecture. 

Copin-g  of  a wall,  the  top  or  covering  made 
sloping  to  throw  off  water. 

Corbeille,  carved  work,  representing  a bas- 
ket with  fruits  or  flowers,  serving  as  a finish 


59 


COR— DRG 

to  some  other  ornament.  It  sometimes  is  ap- 
plied to  the  vase  of  the  Corinthian  capital,  the 
word  originally  meaning  a basket. 

Corinthian  order , one  of  the  four  orders  of  Ar- 
chitecture. 

Cornice,  the  upper  assemblage  of  members  in 
an  entablature,  commencing  at  the  frize ; each 
order  has  its  particular  cornice,  with  suitable 
enrichments.  To  the  Tuscan  it  is  quite 
plain;  to  the  Doric  are  added  gutt<z,  or  bells 
in  the  soffit:  the  Ionic  has  plain  modillions; 
the  Corinthian  is  much  enriched,  and  has  mo- 
dillions. 

Corona,  a large  flat  and  strong  member  in  a 
cornice,  called  also  the  Drip,  or  Larmier ; its 
use  is  to  screen  the  under  parts  of  the  work, 
and,  from  its  shape,  to  prevent  the  water  run- 
ning down  the  column;  it  has  always  a large 
projection  to  answer  its  proposed  use. 

Corridor,  a gallery  or  passage  in  large  build- 
ings, which  leads  to  distinct  apartments. 

Cupola,  a round  roof  or  dome,  in  the  form  of 
an  inverted  cup. 

Gym  a,  Cima , or  Cymatium , a species  of  mould- 
ing, which  is  generally  the  upper  one  to  an 
entablature.  There  are  two  sorts  of  this 
moulding,  the  cyma  recta  and  cyma  reversa , 
which  is  commonly  called  an  ogee. 

D. 

Dentele,  an  ornament  resembling  teeth,  used 
in  Ionic  and  Corinthian  cornices. 

D ie,  the  square  or  naked  piece  in  a pedestal, 
that  part  which  is  between  the  base  and  the 
capital. 

Dome,  a spherical  roof.— -See  Cupola . 

Doric  ordery  one  of  the  four  orders  of  Archi- 
tecture. 

Drops  or  Gutta,  in  the  Doric  entablature,  are 
small  inverted  pyramids  or  cones,  immediate- 
ly under  the  triglyph. 


ECH—FRO 

E. 

Echinus,  is  properly  the  egg  and  anchor  orna- 
ment peculiar  to  the  Ionic  capital ; it  is  some- 
times used  for  the  whole  member  instead  of 
ovalo. 

Entablature,  an  ornament  or  assemblage  of 
parts,  supported  by  a column  or  pilaster  over 
the  capital;  each  order  of  columns  has  a pe- 
culiar entablature  divided  into  three  principal 
parts ; the  architrave , which  is  divided  into 
two  or  more  faciay  and  rests  upon  the  capital 
The  frize , is  next,  and  may  be  plain  or  orna- 
mented. The  cornice  is  the  top  or  crowning 
part. 

F. 

Facade,  the  front  view  or  elevation  of  a build- 
ing. 

Facia,  a flat  member  in  the  entablature  of  an 
order,  representing  a band  or  broad  fillet  in 
an  architrave  ; if  divided,  these  divisions  are 
called  the  first  facia,  the  second  facia,  &c. 

Fillet.  See  Annulet. 

Flutings,  the  hollows  or  channels,  which  are 
cut  perpendicularly  in  columns  by  way  of  or  - 
nament, and  which  should  always  both  begin 
and  end  in  the  shaft,  near  the  extremity  of  the 
apophyges ; thos  there  are  examples  to  the 
contrary.  When  flutings  are  used  the  capi- 
tal should  be  enriched. 

Foliage,  an  assemblage  of  leaves. 

Frett,  an  ornament  laid  on  plain  narrow  sur- 
faces formed  by  one  or  more  fillets  running 
along  in  a zig-zag  direction,  generally  in  right 
angles,  and  keeping  a space  between  each  fil- 
let equal  in  width  to  the  fillet  itself. 

Frize,  or  Frise , the  middle  member  of  an  en- 
tablature, having  the  architrave  below,  and 
the  cornice  above. 

Frontispiece,  sometimes  signifies  the  whole 
face  or  aspect  of  a building,  but  is  more  pro- 


00 


FUS— KEY 


KIN — OGE 


perly  applied  to  the  decorated  entrance  of  a 

house. 

Fust,  the  shaft  of  a column,  or  that  part  which 
is  between  the  base  and  the  capital. 

G. 

Girders,  large  pieces  of  timber  in  flooring, 
laid  from  one  wall  to  another,  when  the  dis- 
tance is  too  great  for  common  joists. 

Glyphs,  the  perpendicular  channels  cut  in  the 
triglyphs  of  the  Doric  frize. 

Gothic,  a peculiar  style  of  Architecture,  dis- 
tinct from  the  Grecian  or  Roman,  derived 
from  the  Goths,  or  rather  from  the  Sara- 
cens. 

Guiloches,  ornaments  made  by  circular  fillets 
crossing  and  recrossing  each  other,  generally 
encompassing  a patera  or  flower. 

H. 

Hammer-beam,  when  the  ceiling  of  a large 
building  is  vaulted,  the  tie-beam  of  the  roof 
is  broken  in  the  middle  and  raised  to  admit 
of  the  curvature  of  the  ceiling,  the  middle  of 
the  beam  being  secured  to  the  collar-beam 
it  is  then  called  a hammer-beam. 

I. 

Impost,  a facia  or  small  cornice  which  crowns 
a pier  or  pilaster,  and  from  which  an  arch 
springs. 

Insulated,  standing  alone,  or  detached  from 
any  contiguous  building,  &c. 

Intercolumniation,  the  space  between  two 
columns. 

Ionic  order,  one  of  the  four  orders  of  Architec- 
ture. 

K. 

Key-stone,  the  highest  stone  of  an  arch,  to 
which  a projection  is  usually  given,  and 
which  is  sometimes  cut  in  ornaments. 


King-post  the  middle  upright  post  in  a set  of 
principal  rafters  in  large  roofs;  being  sup- 
ported by  the  rafters  it  supports  the  middle 
of  the  beam,  and  keeps  it  from  sagging. 

L. 

Lacunarije,  pannels  or  coffers  in  ceilings,  or 
in  the  soffits  of  cornices,  &c. 

M. 

Metope,  the  interval  or  square  space  between 
the  triglyphs  in  the  Doric  frize. 

Mezzanine,  or  Mezzetti , small  or  low  stories 
between  principal  ones,  used  as  servants’ 
apartments. 

Minute,  an  architectonic  measure , the  lower 
diameter  of  a column  divided  into  sixty  parts, 
each  part  is  a minute. 

Modillion,  an  ornament  resembling  a bracket, 
in  the  Ionic  and  Corinthian  cornices. 

Mouldings,  those  parts  which  project  beyond 
the  base  or  perpendicular  face  of  a wall,  co- 
lumn, &c.  intended  only  for  ornament,  whe- 
ther round,  flat,  or  curved ; the  regular  mould- 
ings are,  1st,  the  list , or  annulet ; 2d,  the  as- 
tragal or  bead;  3d,  the  cyma  reversa , or  ogee; 
4th,  the  cyma  recta;  5th,  the  cavetto , or  hol- 
low ; 6th,  the  ovolo , or  quarter  round ; 7th, 
the  scotia;  Sth,  the  torus. 

Mutule,  an  ornament  in  the  Doric  cornice, 
answering  to  a modillion  in  the  Ionic  and  Co- 
rinthian entablatures. 

N. 


Niche,  a cavity  or  hollow  in  a wall  for  statues, 


See. 

O. 

Obelisk,  a tall  pyramid. 
Ogee,  a cyma  reversa. 


61 


(3RD— PLI 

Order,  in  Architecture,  a column  entire,  con- 
sisting of  base , shaft , and  capital , with  an  en- 
tablature. 

Ova,  or  ovum.  See  Echinus. 

Ovolo,  a moulding  which  projects  one  quarter 
of  a circle,  called  also  a quarter  round . 

P. 

Pedestal,  a square  body  on  which  columns, 
Sec.  are  placed. 

Pediment,  a low  triangular  ornament  in  the 
front  of  buildings,  and  over  doors,  windows, 
Sec. 

Pier,  a kind  of  pilaster  or  buttress,  to  support, 
strengthen,  or  ornament ; the  pier  of  a bridge, 
is  the  foot  or  support  of  the  arch.  The  wall 
between  windows  or  doors.  Also  square  pil- 
lars of  stone  or  brick,  to  which  gates  are 
hung.  s 

Peristyle,  a range  of  columns  or  colonnade, 
within  a court  or  building  like  a cloister. 

Piazza,  a continued  arched  way  or  vaulting, 
under  which  to  walk,  &c. 

Pilaster,  a square  pillar  or  column,  usually 
placed  against  a wall. 

Pillar,  this  word  is  generally  used  in  Archi- 
tecture, in  common  with  column , though, 
strictly  speaking  they  are  different ; thus  the 
supporters  in  Gothic  Architecture  are  pillars, 
but  can  never  be  properly  termed  columns, 
varying  in  shape  and  every  particular  from 
the  latter. 

Plancere,  a reversed  plan  of  a cornice  or 
other  moulding ; or  a view  of  the  same  from 
below. 

Plat-band,  any  flat  square  moulding  with  lit- 
tle projection ; the  different  facias  of  an  archi- 
trave are  called  plat-bands ; the  same  is  ap- 
plied to  the  list  between  flutings,  &c. 

Plinth,  the  lower  member  of  a base. 


FOR— SAL 

Portico,  a continued  range  of  columns  cover- 
ed at  top,  to  shelter  from  the  weather;  also,  a 
common  name  to  buildings  which  have  co- 
vered walks  supported  by  pillars. 

Prince-post,  a post  placed  upright  in  framing 
of  principal  rafters  between  the  king-post  and 
the  end  of  the  tie-beam,  giving  additional  sup- 
port to  the  tie-beam. 

Principal  Rafters,  large  roofs  are  supported 
by  sets  of  framing  placed  at  from  8 to  10  feet 
apart,  these  frames  are  generally  composed 
of  tie-beams,  king-posts,  prince-posts,  braces 
or  trusses,  and  rafters. 

Profile,  the  outline  or  contour  of  any  build- 
ing,  &c. 

Purlins,  square  pieces  of  timber  laid  from  one 
sett  of  principal  rafters  to  another ; on  these 
are  laid  the  jack-rafters  or  small  rafters  to 
receive  the  covering. 

Pyramid,  a structure,  which,  from  a square, 
triangular,  or  other  base,  rises  gradually  to  a. 
point. 

Q- 

Quarter  Round,  a moulding.  See  Ovolo. 

Quoins,  stones  or  other  materials  put  in  the 
angles  of  buildings  to  strengthen  them. 

R. 

Relievo,  signifies  the  projection  of  any  carved 
ornament. 

Rotunda,  a building  which  is  round  both  with- 
in and  without. 

Rustic,  the  term  is  applied  to  those  stones  in 
a building  which  are  hatched  or  picked  in 
holes,  resembling  a natural  rough  appear- 
ance. 

S. 

Saloon,  a lofty,  vaulted,  spacious  hall  or  apart- 
ment. 


Q 


63 


SCO — TRI 

Scotia,  a hollow  moulding  used  in  bases  to 
columns. 

Section  of  a building,  represents  it  as  if  cut  per- 
pendicularly from  the  roof  downwards,  and 
serves  to  shew  the  internal  decorations  and 
distribution. 

Shaft,  the  trunk  or  body  of  a column  between 
the  base  and  the  capital. 

Soffit,  the  under  part  or  ceiling  of  a cornice, 
which  is  usually  ornamented  ; the  under  part 
of  the  corona  is  called  the  Soffit ; the  word  is 
also  applied  to  the  ceiling  of  an  arch,  the  un- 
der side  of  an  architrave,  Sec. 

T. 

Tenia,  the  upper  member  of  the  Doric  archi- 
trave ; a kind  of  list  el. 

Tie-beams,  large  timbers  forming  the  base  line 
of  a set  of  principal  rafters. 

Torus,  or  Torer  a large  semicircular  mould- 
ing used  in  the  base  of  columns. 

Transom,  a piece  placed  over  a door  when 
there  is  to  be  an  opening  for  light  immediate- 
ly over  the  door;  when  the  opening  over  is 
circular  it  is  generally  called  an  impost. 

Triglyfh,  an  ornament  peculiar  to  the  Doric 
frize. 


TRU— ZOC 

Truss,  or  Brace , pieces  of  timber  used  in 
framing  to  support  the  middle  of  any  great 
span. 

Tuscan  Order , one  of  the  four  orders  of  Archi- 
tecture. 

Tympan,  the  flat  surface  or  space  within  a pe- 
diment. 

V. 

Vase,  the  body  of  a Corinthian  capital,  also  an 
ornament  used  in  Architecture,  &c. 

Vault,  an  arched  roof,  the  stones  or  mate- 
rials of  which  are  so  placed  as  to  support 
each  other. 

Volute,  the  scroll  or  spiral  horn,  used  in  Ionic 
capitals. 

W. 

Wall-plate,  a piece  of  timber  laid  on  the  top 
of  a wall  on  which  is  laid  the  joist  and  framing 
of  the  roof. 

Z. 

Zocle,  or  Soccolo , a low  square  member,  which 
serves  to  elevate  a statue,  vase,  See.  also 
when  a range  of  columns  is  erected  on  one 
continued  high  plinth , it  is  called  a Zocle;  it 
differs  from  a pedestal,  being  without  base 
or  cornice. 


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